“The sea up close is enormous. I squeezed my eyes against it for a moment, which is ridiculous, like fighting a giant with a pin. It comes to you anyway, through your ears and nose and skin and tongue. It is a savage, muscular thing, a vast dim wetness battering at the land and the air and all your senses.”

“Poetry expands the senses and keeps them in prime condition. It keeps you aware of your nose, your eye, your ear, your tongue, your hand.”

“Walter loves the sea, and I need it in some elemental way that I cannot even come close to verbalizing. I become dim and shriveled somehow at my very core if I am away from the sea too long. When I return to it I seem to fill up and overflow with it, soaking in the vast, sighing wetness of it like a parched vine in a long, soft spring rain.”

“Ever the charmer, eh, Braden? (Sin)Hold your tongue, Sin. (Braden)I would, but with my luck, one of your giant Scottish bugs would land on it. Besides, it makes my hand wet and pruney when I do that. (Sin)”

“Opening your eyes is all that is needing. The heart lies and the head plays tricks with us, but the eyes see true. Look with your eyes. Hear with your ears. Taste with your mouth. Smell with your nose. Feel with your skin. Then comes the thinking, afterward, and in that way knowing the truth.”

“Siobhan also says that if you close your mouth and breathe out loudly through your nose it can mean that you are relaxed, or that you are bored, or that you are angry and it all depends on how much air comes out of your nose and how fast and what shape your mouth is when you do it and how you are sitting and what you just said before and hundreds of other things which are too complicated to work out in a few seconds.”