“I saw our future together compressed into a moment; our faces changing, desire having to cope and reinvent itself at each new stratum of familiarity; I saw the gradual dissolution of mutual mystery and romance, its succession by friendship and a sort of tranquil and supernatural loyalty; I felt - with great lightness of being - the bearability of the idea of death, if the life preceding it was bloodily commingled (in children) with hers. A humble little truth: build a truly good life and it will reward you with mastery of the fear of death. It was simple. Having committed to the building of a marriage and family, all sorts of truths came forward and offered themselves.”

“but it was humanly good to be touched too, to be alone with someone at the secret feast that went all the way back to Adam and Eve. You looked at each other and felt just how old the contract was, the warm-faced commitment to the adventure, the stepping together out of the light into the rewarding darkness.”

“The Russian drove. New York turned in his seat to make sure I wasn't peeking. He should have been a surfer. His face was full of masculine prettiness and immensely likeable. Which, by horror's law of inverted aesthetics, made me sure we were being taken to our deaths.”

“Thus she's discovered the Conradian truth: The first horror is there's horror. The second is you accommodate it...You do what you do because it's that or death.”

“She was afraid of us moving in together. With Mark, domestic intimacy had become domestic claustrophobia; and had riddled romance (though she never quite said this) like woodworm. It wasn't that she was resistant to the glamourlessness of stray toenails and washing up and underpants and mug-rings and hoovering and boredom; on the contrary: it was that she was horrified by her own willingness to sink so deeply into the comfort of such details. A no nonsense streak in her identified the ordinary with truth, the exotic with delusion. She and Mark had delighted in dehumbugging their own romance, had (she confessed) Larkinized themselves into mundanity addicts. In Mark's case (she suspected) because he knew deep down he had no magic in him; in her own because she knew deep down that she had too much (no nonsense streak or not), and that to release it would be to lose him - and perhaps herself. Therefore they had wallowed together in cosiness, both suffering, Mark for fear of her leaving him, her for fear (certainty, actually) that the romantic inside her would rise up and smash their deadening familiarity to pieces.”

“Telling the truth is a beautiful act even if the truth itself is ugly”

“It is, you must concede, unpleasantly messy, this business of having feelings, this mattering to each other. I've always thought of it as gory, a sort of perpetually occurring road accident - everyone going too fast, too close, without due care and attention, or with too much . . .”