“To attempt to describe how music pervades and flavors a life feels a little like an invasion of privacy, even if the privacy is my own. Listening to music,...is finally the most inward of acts--so inward that even language, even the language of thought, can come to seem intrusive...After all these procedures the unbreachable mysteriousness of music remains intact. The book can never be more than an interruption. Afterward, the listening begins again, to generate, in turn, other and completely different books.”

“Yet the laboriously sought musical epiphany rarely compares to the unsought, even unwanted tune whose ambush is violent and sudden: the song the cab driver was tuned to, the song rumbling from the speaker wedged against the fire-escape railing, the song tingling from the transistor on the beach blanket. To locate those songs again can become, with age, something like a religious quest, as suggested by the frequent use of the phrase "Holy Grail" to describe hard-to-find tracks. The collector is haunted by the knowledge that somewhere on the planet an intact chunk of his past still exists, uncorrupted by time or circumstance.”

“No season lives here. This space has quite successfully shut out any such interference. The cunning designer saw to it that there is not even a mirror in which the reader might contemplate his own appearance or anxiously search for the marks of age. The climate is grammatical. Nothing here but books, as if I were swaddled in them, as if the porous walls of books were by now almost a second skin. Or as if they provided a padding like the walls of madhouses, a cushion constructed of the language of the dead.”

“The question of what exactly we remember when we listen to old recordings, or whether it can be called remembering at all, becomes less and less answerable over a lifetime.”

“Scattered among these things are reminders that sound once existed: a metronome, a drumming pad, a guitar pick, a trumpet mouthpiece, a music stand, a tuning fork, a block of rosin...The older instruments bear the marks of those who have already played them, the scuffs and bites and dents that are the mysterious scars of sound. In their midst the house hangs, tenuous and enveloping, a sounding board waiting to be struck.”

“The age of recording is necessarily an age of nostalgia--when was the past so hauntingly accessible?--but its bitterest insight is the incapacity of even the most perfectly captured sound to restore the moment of its first inscribing. That world is no longer there.”

“Every contact you make with a human being (or even an animal) is an experiment and a dangerous and therefore important experiment. It is dangerous because it can never be repeated. However serious, however trivial it may be, though you will afterwards make many others, perhaps more unusual, more intimate or more complete - that chance will not come again.Human contacts are dangerous, too, because they matter so much, and no one knows how much they matter. Even the most trivial meeting makes a difference, slight but lasting, to one or both. Intimate contacts make heaven and hell, they can heal and tear, kill and raise from the dead.These contacts are the fields on which we succeed or fail. I believe that they matter far more than anything else in life. What we are is written on the people whom we have met and know, touched, loved, hated and passed by. It is the lives of others that testify for or against us, not our own.”