“Horace lived in a huge room filled with cages. Inside each cage was a young person, a futon or cot, a footlocker, a few milk crates. Bare bulbs on wires hung from fixtures in the high ceiling. I’d read about these places. Kids moved to the city, but there were no apartments left to rent to them, or none they could afford. But on a starting salary, or no salary, you could maybe manage a cage. Several dozen people resided here among the drum kits and guitar amps, the antique film editing deck, a few long tables and spindly chairs, a minifridge. Power cables streaked the floor under mounds of black and silver tape. Laptops glowed from the cages. Voices rose and fell, rippled about the room, a dozen conversations going at once, or maybe one conversation replicated over and over by feral and beautiful children.
The place resembled a new model prison, or one that had achieved a provisional utopia after principled revolt, or maybe a homeless shelter for people with liberal arts degrees. The cages brought to mind those labs with their death-fuming vents near my college studio. These kids were part of some great experiment. It was maybe the same one in which I’d been a subject. Unlike me, though, or the guinea pigs and hares, they were happy, or seemed happy, or were blogging about how they seemed happy.”

Sam Lipsyte -  “The Ask” (Picador, 2010)