“Those words . . . national and portrait. They were both to do with identity: the identity of a culture (place, language and history), the identity of an individual human being as an object for mimetic representation.”

“Coherence and closure are deep human desires that are presently unfashionable. But they are always both frightening and enchantingly desirable. "Falling in love," characteristically, combs the appearances of the word, and of the particular lover's history, out of a random tangle and into a coherent plot.”

“She thought human thoughts and stone thoughts. The latter were slow, patchily coloured, textured and extreme, both hot and cold. They did not translate into the English language, or into any other she knew: they were things that accumulated, solidly, knocked against each other, heaped and slipped.”

“They did go on so, don't you think, those Victorian poets, they took themselves so horribly seriously?' he said, pushing the lift button, summoning it from the depths. As it creaked up, Blackadder said, 'That's not the worst thing a human being can do, take himself seriously.”

“It is possible for a writer to make, or remake at least, for a reader, the primary pleasures of eating, or drinking, or looking on, or sex. Novels have their obligatory tour-de-force, the green-flecked gold omelette aux fines herbes, melting into buttery formlessness and tasting of summer, or the creamy human haunch, firm and warm, curved back to reveal a hot hollow, a crisping hair or two, the glimpsed sex. They do not habitually elaborate on the equally intense pleasure of reading. There are obvious reasons for this, the most obvious being the regressive nature of the pleasure, a mise-en-abîme even, where words draw attention to the power and delight of words, and so ad infinitum, thus making the imagination experience something papery and dry, narcissistic and yet disagreeably distanced, without the immediacy of sexual moisture or the scented garnet glow of a good burgundy. And yet, natures such as Roland's are at their most alert and heady when reading is violently yet steadily alive. (What an amazing word "heady" is, en passant, suggesting both acute sensuous alertness and its opposite, the pleasure of the brain as opposed to the viscera—though each is implicated in the other, as we know very well, with both, when they are working.)”

“Things had changed between them nevertheless. They were children of a time and culture which mistrusted love, 'in love', romantic love, romance in toto, and which nevertheless in revenge proliferated sexual language, linguistic sexuality, analysis, dissection, deconstruction, exposure. They were theoretically knowing: they knew about phallocracy and penisneid, punctuation, puncturing and penetration, about polymorphous and polysemous perversity, orality, good and bad breasts, clitoral tumescence, vesicle persecution, the fluids, the solids, the metaphors for these, the systems of desire and damage, infantile greed and oppression and transgression, the iconography of the cervix and the imagery of the expanding and contracting Body, desired, attacked, consumed, feared.”

“A man is the history of his breaths and thoughts, acts, atoms and wounds, love indifference and dislike, also of his race and nation, the soil that fed him and his forbears, the stones and sands of his familiar places, long-silenced battles and struggles of conscience, of the smiles of girls and the slow utterance of old women, of accidents and the gradual action of inexorable law, of all this and something else, too, a single flame which in every way obeys the laws that pertain to Fire itself, and yet is lit and put out from one moment to the next, and can never be relumed in the whole waste of time to come.”