“When I first read The Rebel, this splendid line came leaping from the page like a dolphin from a wave. I memorized it instantly, and from then on Camus was my man. I wanted to write like that, in a prose that sang like poetry. I wanted to look like him. I wanted to wear a Bogart-style trench coat with the collar turned up, have an untipped Gauloise dangling from my lower lip, and die romantically in a car crash. At the time, the crash had only just happened. The wheels of the wrecked Facel Vega were practically still spinning, and at Sydney University I knew exiled French students, spiritually scarred by service in Indochina, who had met Camus in Paris: one of them claimed to have shared a girl with him. Later on, in London, I was able to arrange the trench coat and the Gauloise, although I decided to forgo the car crash until a more propitious moment. Much later, long after having realized that smoking French cigarettes was just an expensive way of inhaling nationalized industrial waste, I learned from Olivier Todd's excellent biography of Camus that the trench coat had been a gift from Arthur Koestler's wife and that the Bogart connection had been, as the academics say, no accident. Camus had wanted to look like Bogart, and Mrs. Koestler knew where to get the kit. Camus was a bit of an actor--he though, in fact, that he was a lot of an actor, although his histrionic talent was the weakest item of his theatrical equipment--and, being a bit of an actor, he was preoccupied by questions of authenticity, as truly authentic people seldom are. But under the posturing agonies about authenticity there was something better than authentic: there was something genuine. He was genuinely poetic. Being that, he could apply two tests simultaneously to his own language: the test of expressiveness, and the test of truth to life. To put it another way, he couldn't not apply them.”

“I wanted to tell them that I'd never had a friend, not ever, not a real one. Until Dante. I wanted to tell them that I never knew that people like Dante existed in the world, people who looked at the stars, and knew the mysteries of water, and knew enough to know that birds belonged to the heavens and weren't meant to be shot down from their graceful flights by mean and stupid boys. I wanted to tell them that he had changed my life and that I would never be the same, not ever. And that somehow it felt like it was Dante who had saved my life and not the other way around. I wanted to tell them that he was the first human being aside from my mother who had ever made me want to talk about the things that scared me. I wanted to tell them so many things and yet I didn't have the words. So I just stupidly repeated myself. "Dante's my friend.”

“No one else should see him like that, ever. Not my Rue. And he was mine, as much as I was his. I knew that now, just from the way he looked at me after I kissed him. Everything I felt for him, every ounce of yearning and desire and need, had shone out of his eyes as he stared up at me. And I knew right then, I knew… he belonged to me.”

“Maybe I had been making a greater monster of him than he really was, or maybe I was still under his influence, for I was certain that he wanted me to believe he was no more than a harmless man who happened to use vampirism to get what he desired. Some remnant of his mesmerism was still upon me. I had never been able to shake the feeling that he was tucked away in a corner of my mind, that he could read my thoughts, know what I was thinking. He had done something to me, but what that was, I had never been able to discover. All I knew was that the feeling had been with me since the morning I woke up and found myself in Venice.”

“I stumbled upon Friedrich Nietzsche when I was 17, following the usual trail of existential candies—Camus, Sartre, Beckett—that unsuspecting teenagers find in the woods. The effect was more like a drug than a philosophy. I was whirled upward—or was it downward?—into a one-man universe, a secret cult demanding that you put a gun to the head of your dearest habits and beliefs. That intoxicating whiff of half-conscious madness; that casually hair-raising evisceration of everything moral, responsible and parentally approved—these waves overwhelmed my adolescent dinghy. And even more than by his ideas—many of which I didn't understand at all, but some of which I perhaps grasped better then than I do now—I was seduced by his prose. At the end of his sentences you could hear an electric crack, like the whip of a steel blade being tested in the air. He might have been the Devil, but he had better lines than God.”

“I had not particularly liked the way in which he wrote about literature in Beginnings, and I was always on my guard if not outright hostile when any tincture of 'deconstruction' or 'postmodernism' was applied to my beloved canon of English writing, but when Edward talked about English literature and quoted from it, he passed the test that I always privately apply: Do you truly love this subject and could you bear to live for one moment if it was obliterated?”