“It troubles him to consider the powerful currents and fine-tuning that alter fate, the close and distant influences, the accidents of character and circumstance.”

“My needs were simple I didn't bother much with themes or felicitous phrases and skipped fine descriptions of weather, landscapes and interiors. I wanted characters I could believe in, and I wanted to be made curious about what was to happen to them. Generally, I preferred people to be falling in and out of love, but I didn't mind so much if they tried their hand at something else. It was vulgar to want it, but I liked someone to say 'Marry me' by the end.”

“Novels without female characters were a lifeless desert.”

“It's at moments like these in a game that the essentials of his character are exposed: narrow, ineffectual, stupid—and morally so. The game becomes an extended metaphor of character defect. Every error he makes is so profoundly, so irritatingly typical of himself, instantly familiar, like a signature, like a tissue scar or some deformation in a private place.”

“...since coming home, her life had stood still and a fine day like this made her impatient, almost desperate.”

“The age of clear answers was over. So was the age of characters and plots. Despite her journal sketches, she no longer really believed in characters. They were quiant devices that belonged to the nineteenth century. The very concept of character was founded on errors that modern psychology had exposed. Plots too were like rusted machinery whose wheels would no longer turn. A modern novelist could no more write characters and plots than a modern composer could a Mozart symphony. It was thought, perception, sensations that interested her, the conscious mind as a river through time, and how to represent its onward roll, as well as the tributaries that would swell it, and the obstacles that would divert it. If only she could reproduce the clear light of a summer's morning, the sensations of a child standing at a window, the curve and dip of a swallow's flight over a pool of water. The novel of the future would be unlike anything in the past.”

“Without making any great show of it, Mather withdrew from him. Though they saw each other in company, and he was never obviously distant toward Edward, the friendship was never the same. Edward was in agonies when he considered that Mather was actually repelled by his behavior, but he did not have the courage to raise the subject. Besides, Mather made sure they were never alone together. At first Edward believed that his error was to have damaged Mather's pride by witnessing his humiliation, which Edward then compounded by acting as his champion, demonstrating that he was tough while Mather was a vulnerable weakling. Later on, Edward realized that what he had done was simply not cool, and his shame was all the greater. Street fighting did not go with poetry and irony, bebop or history. He was guilty of a lapse of taste. He was not the person he had thought. What he believed was an interesting quirk, a rough virtue, turned out to be a vulgarity. He was a country boy, a provincial idiot who thought a bare-knuckle swipe could impress a friend. It was a mortifying reappraisal. He was making one of the advances typical of early adulthood: the discovery that there were new values by which he preferred to be judged.”