“She hated the namelessness of women in stories, as if they lived and died so that men could have metaphysical insights.”

“Neither had said so, but she could tell. Unless she was just paranoid, living in her head again, but you always lived in your head and you had to go with what you felt.”

“He already knew he could coach. All you had to do was look at each of your players and ask yourself: What story does this guy wish someone would tell him about himself? And then you told the guy that story.”

“Pella felt like she knew a lot about men, but she couldn’t imagine what it would be like to be one of them, to be in a room of them with no woman present, to participate in their silent rights of contrition and redemption.”

“The girl-women scampered around a beach house in various states of preparative undress, wriggled into sundresses, shook out their hair....They possessed a veneer of hotness, certainly, a sheen of sexual health. You could call them clean, chromatic, shapely, sun-kissed, and yes, even HOT--but you could never call them lovely, not in the way that Owen was lovely.”

“Just as abruptly, he'd become a father. While preparing the book for publication, he'd been dating a woman named Sarah Coowe, an infectious-disease specialist at MGH. They were evenly matched in many ways: sharp-dressed, sharp-tongued, and devoted to their careers and personal freedoms to the exclusion of any serious interest in so-called romance. They spent ten months together. A few weeks after they broke up -- Sarah initiated the split -- she called to say that she was pregnant. "It's mine?" asked Affenlight. "He or she," replied Sarah, "is mostly mine."They named the child Pella -- that was Affenlight's idea, though Sarah certainly had the final say. For those first couple of years, Affenlight conspired as often as he could to show up at Sarah and Pella's Kendall Square townhouse with expensive takeout and a new toy. He was fascinated with his daughter, with the sheer reality of her, a beautiful something where before there'd been nothing. He hated kissing her good-bye; and yet he relished, couldn't keep himself from relishing, the total quiet of his townhouse when he walked in, the scattered books and papers and lack of baby-proofing.”

“That was what made the story so epic: the player, the hero, had to suffer mightily en route to his final triumph. Schwartz knew that people loved to suffer, as long as the suffering made sense. Everybody suffered. The key was to choose the form of your suffering. Most people couldn't do this alone; they needed a coach. A good coach made you suffer in a way that suited you. A bad coach made everyone suffer in the same way, and so was more like a torturer.”