Not that I was myself homosexual. True, my heterosexuality was notional. I wasn’t much to look at (skinny, acne-prone, brace-faced, bespectacled, and Asian), and inasmuch as I was ugly, I also had a bad personality. While Ethan was easing himself into same-sex experimentation, I was learning about the torments and transports of misanthropy. “That kid,” I remember overhearing one of the baseball players say, “is a misfit.” No one ever shoved my head in a locker, the way they did the one amber-tinted Afghani kid, or P. J., the big dumb sweet slow kid, and nobody ever pelted me with rocks, as they did Doug Urbano, who was fat and working class (his father was a truck driver, and sometimes, when he lectured us about the vital role that truck drivers play in the American economy—they really do, you know—he was jeered). But these judgments stayed with me.

[...] We know, in short, identity politics, which, when it isn’t acting as a violent outlet for the narcissism of the age, can serve as its antidote, binding people into imagined collectivities capable of taking action to secure their interests and assert their personhood.

You saw a look of sadness and yearning in Samuel’s face when he had subsided from one of his misanthropic tirades—there was no limit to the scorn he heaped on the intellectual pretensions of others—and it put you on guard against him. What you sensed about him was that his abiding rage was closely linked to the fact that he was fat and ugly in a uniquely unappealing way, and that this compounded with his unappealing rage made him the sort of person that no woman would ever want to touch. He seemed arrayed in that wild rancor that sexual frustration can bestow on a man, and everything about his persona—his coruscating irony, his unbelievable intellectual snobbery—seemed a way to channel and thus defend himself against this consuming bitterness. He was ugly on the outside and once you got past that you found the true ugliness on the inside.

And then below that ugliness you found a vulnerable person who desperately needed to be seen and touched and known as a human phenomenon. And above all, you wanted nothing to do with that, because once you touched the source of his loneliness, there would be no end to it, and even if you took it upon yourself to appease this unappeasable need, he would eventually decide to revenge himself against a world that had held him at bay, and there would be no better target for this revenge than you, precisely because you were the person who’d dared to draw the nearest. This is what you felt instantly, without having to put it into words (it’s what I felt, anyway, though it might have been pure projection), the moment you met Samuel. For all that he could be amusing to talk to, and for all that he was visibly a nice guy despite all I’ve just said, you were careful to keep your distance.

[...] when you think of the long-standing idea of art in opposition to the dominant culture, if only by keeping its autonomy from the pursuit of money—the only common value great writers from right to left have acknowledged—you begin to sense what we have lost. Capitalism as a system for the equitable distribution of goods is troublesome enough; as a way of measuring success it is useless. When you begin to think the advances of doled out to writers by major corporations possess anything but an accidental correlation to artistic worth, you are finished. Everything becomes publicity. How many writers now refuse to be photographed? How many refuse to sit for idiotic “lifestyle” pieces? Or to write supplemental reading group “guides” for their paperbacks? Everyone along the chain of production compromises a tiny bit and suddenly Jay McInerney is a guest judge on Iron Chef.

This is the diamond of the mind, this ability. A lot of people know about it, but I didn’t know about it.

From then on when the panic crept in I could just push over the thread-thin edge to the other side, feeling the way to joy.

Joy is the knowledge that the thread is there.

A thread runs through the middle of your life, and if you find it, the second half can be comedy instead.

A place can make you want to die and then you can turn it over into the sweetest thing. You can do this yourself, if you have found the diamond in your mind.

I am less interested in zombie stories, though, than I am in this neighborhood’s particular light. The thing I most want to tell you is how the sunlight is here, but I don’t know how to describe it. It’s obviously the same sun that lights the rest of the city, but there is something different about it. Maybe it’s our lack of trees, or the reflection of the river, or the lowness of most of the buildings, or the supersaturated colors, deep reds and greens, the bright wild complicated graffiti. We don’t have the trees of South Brooklyn, the shady corridors of stoops, the tall stately brownstones of Fort Greene or Park Slope. We don’t have cobblestone streets. What we have is this naked golden light. It’s a thin, big-sky light, kind of Western, cinematic. Since the first day I saw it, it has alternately flustered and comforted me. Today its particular quality will have half the people in the neighborhood drinking in the afternoon. By five or six, some of the couples will already be fighting on the streets, one of them wrangling the drunker, more belligerent one home, because there is always a drunker, more belligerent one, and one who needs to feel like he or she is taking care of someone.

At the moment, though, a really tall guy on roller skates is coasting down the long steep slope of the pedestrian walkway with his legs and arms spread wide and the wind in his fingers. He has the biggest satisfied grin on his face. There are always a few people a day who roll like this, on bikes or boards or even just running, arms wide, falling down the bridge into Williamsburg, in the pretty light.