"The night room heaves a sigh, yes Heaves, a Sigh — old-fashioned comical room, oh me I'm hopeless, born a joker never change, flirting away through the mirrorframe in something green-striped, pantalooned, and ruffled — meantime though, it is quaint, most rooms today hum you know, have been known also to "breathe," yes even wait in hushed expectancy and that ought to be the rather sinister tradition here, long slender creatures, heavy perfume and capes in rooms assailed by midnight, pierced with spiral stairways, blue-petaled pergolas, an ambience in which no one, however provoked or out of touch, my dear young lady, ever, Heaves, a Sigh. It is not done."

“Whenever I put the headsets on now," he'd continued, "I really do understand what I find there. When those kids sing about 'She loves you,' yeah, well, you know, she does, she's any number of people, all over the world, back through time, different colors, shapes, sizes, distances from death, but she loves. And the 'you' is everybody. And herself.”

“No need to feel pleas'd with yourself. What you found was not their sacred Well, but only a Representation of it.”

“Paranoids are not paranoid because they're paranoid, but because they keep putting themselves, fucking idiots, deliberately into paranoid situations.”

“It is usually not wise to discuss matters of costume with people like this, — politics or religion being far safer topicks.”

“The rest of the Crew partook of the same lethargy. Raoul wrote for television, keeping carefully in mind, and complaining bitterly about, all the sponsor-fetishes of that industry. Slab painted in sporadic bursts, referring to himself as a Catatonic Expressionist and his work as “the ultimate in non-communication.” Melvin played the guitar and sang liberal folk songs. The pattern would have been familiar—bohemian, creative, arty—except that it was even further removed from reality, Romanticism in its furthest decadence; being only an exhausted impersonation of poverty, rebellion and artistic “soul.” For it was the unhappy fact that most of them worked for a living and obtained the substance of their conversation from the pages of Time magazine and like publications”

“He lies on top of her, sweating, taking great breaths, watching her face turned 3/4 away, not even a profile, but the terrible Face That is No Face, gone too abstract, unreachable: the notch of the eye socket, but never the labile eye, only the anonymous curve of cheek, convexity of mouth, a noseless mask of the Other Order of Being, of Katje's being — the lifeless non-face that is the only face of hers he really knows, or will ever remember.”