“Standing here, as immune to the cold as a marble statue, gazing towards Charlotte Street, towards a foreshortened jumble of façades, scaffolding and pitched roofs, Henry thinks the city is a success, a brilliant invention, a biological masterpiece--millions teeming around the accumulated and layered achievements of the centuries, as though around a coral reef, sleeping, working, entertaining themselves, harmonious for the most part, nearly everyone wanting it to work. And the Perownes own corner, a triumph of congruent proportion; the perfect square laid out by Robert Adam enclosing a perfect circle of garden--an eighteenth century dream bathed and embraced by modernity, by street light from above, and from below by fibre-optic cables, and cool fresh water coursing down pipes, and sewage borne away in an instant of forgetting.”

“Sex is a different medium, refracting time and sense, a biological hyperspace as remote from conscious existence as dreams, or as water is from air”

“The light of artistic creation is also blinding.The artist can’t see the suffering he causesto those around him. And the’ll neverunderstand the purity of his goal, how the heatof his invention won’t melt the ice in his heart.He must be ruthless!No religion, no purpose except this:Make something perfect before you die.Life is short, art is for all time”

“... he felt unusually warm toward humankind. He even thought that it could warm to him. Everyone, all of us, individually facing oblivion as a matter of course, and no one complaining much. As a species, not the best imaginable, but certainly the best, no, the most interesting there was.”

“You pull a book from the shelf and there was an invention... Almost like cooking, I thought sleepily. Instead of heat transforming the ingredients, there's pure invention, the spark, the hidden element. What resulted was more than the sum of parts... At one level it was obvious enough how these separarte parts were tipped in and deployed. The mystery was in how they were blended into somthing cohesive and plausible, how the ingredients were cooked into something so delicious. As my thought scattered and I drifted toward the borders of oblivion, I thought I almost understood how it was done.”

“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.”

“What idiocy, to racing into this story and its labyrinths, sprinting away from our happiness among the fresh spring grasses by the oak.”