“Her (Jane Austen) moral message is infused with ideological insistence on the merits of good conduct, good manners, sound reason, and marriage as an admirable social institution. She never scorns love, but balances it often . . . with a firm advocacy of . . . the qualities of self-knowledge, self-discipline, and practicality.”

“And I love Jane Austen's use of language too--the way she takes her time to develop a phrase and gives it room to grow, so that these clever, complex statements form slowly and then bloom in my mind. Beethoven does the same thing with his cadence and phrasing and structure. It's a fact: Jane Austen is musical. And so's Yeats. And Wordsworth. All the great writers are musical.”

“A spirituality that is only private and self-absorbed, one devoid of an authentic political and social consciousness, does little to halt the suicidal juggernaut of history. On the other hand, an activism that is not purified by profound spiritual and psychological self-awareness and rooted in divine truth, wisdom, and compassion will only perpetuate the problem it is trying to solve, however righteous its intentions. When, however, the deepest and most grounded spiritual vision is married to a practical and pragmatic drive to transform all existing political, economic and social institutions, a holy force - the power of wisdom and love in action - is born. This force I define as Sacred Activism.”

“It is laughable how often good manners interfere with my survival.”

“Never disapprove the good things you get and never scornfully look on the bad things you get. You don't know who has it worse.”

“... [In 'Pride and Prejudice'] Mr Collins's repulsiveness in his letter [about Lydia's elopement] does not exist only at the level of the sentence: it permeates all aspects of his rhetoric. Austen's point is that the well-formed sentence belongs to a self-enclosed mind, incapable of sympathetic connections with others and eager to inflict as much pain as is compatible with a thin veneer of politeness. Whereas Blair judged the Addisonian sentence as a completely autonomous unit, Austen judges the sentence as the product of a pre-existing moral agent. What counts is the sentence's ability to reveal that agent, not to enshrine a free-standing morsel of truth.Mr Darcy's letter to Elizabeth, in contrast, features a quite different practice of the sentence, including an odd form of punctation ... The dashes in Mr Darcy's letter transform the typographical sentence by physically making each sentence continuous with the next one. ... The dashes insist that each sentence is not self-sufficient but belongs to a larger macrostructure. Most of Mr Darcy's justification consists not of organised arguments like those of Mr Collins but of narrative. ... The letter's totality exists not in the typographical sentence but in the described event.”

“..I don't count Jennifer among my mistakes. She had a severe infection and precious little reserve. Nevertheless, I think of her often. Those minutes of terror and confusion I felt standing powerless in her room served as a visceral reminder throughout my training... that the big picture isn't enough in medicine...”