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"You'd be surprised, Theo." she said, leaning back in her shawl-shaped chair, "what small, everyday things can lift us out of despair. But nobody can do it for you. You're the one who has to watch for the open door."
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"Taking on challenging projects is the way that one grows and extends one's range as a writer, one's technical command, so I consider the time well-spent."
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"We don't like to admit it, but the idea of losing control is one that fascinates controlled people such as ourselves more than almost anything. All truly civilized people " the ancients no less than us " have civilized themselves through the wilful repression of the old, animal self."
"When we are sad-at least I am like this-it can be comforting to cling to familiar objects, to the things that don't change."
"And I'm hoping there's some larger truth about suffering here, or at least my understanding of it - although I've come to realize that the only truths that matter to me are the ones I don't, and can't, understand. What's mysterious, ambiguous, inexplicable. What doesn't fit into a story, what doesn't have a story. Glint of brightness on a barely-there chain. Patch of sunlight on a yellow wall. The loneliness that separates every living creature from every other living creature. Sorrow inseparable from joy."
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"It's a very Greek idea, and a very profound one. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to lose control completely? To throw off all the chains of being for an instant, to shatter the accident of our mortal selves?"
"Maybe that's why I tend to equate physical beauty with qualities with which it has absolutely nothing to do. I see a pretty mouth or a moody pair of eyes and imagine all sorts of deep affinities, private kinships. Never mind that half a dozen jerks are clustered round the same person, just because they've been duped by the same pair of eyes."
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