“In this little night-covered world with you, I hope to find what I long for; a clue, a map, a bird flying south, and when the light comes we will get dressed together and go.”

“I have flown the distance of your body from side to side of your ivory coast. I know the forests where I can rest and feed. I have mapped you with my naked eye and stored you out of sight. The millions of cells that make up your tissues are plotted on my retina. Night flying I know exactly where I am. Your body is my landing strip.”

“I spin worlds where we could be together. I dream you. For me, imagination and desire are very close.”

“While I can’t have you, I long for you. I am the kind of person who would miss a train or a plane to meet you for coffee. I’d take a taxi across town to see you for ten minutes. I’d wait outside all night if I thought you would open the door in the morning. If you call me and say ‘Will you…’ my answer is ‘Yes’, before your sentence is out. I spin worlds where we could be together. I dream you. For me, imagination and desire are very close.”

“What should I do about the wild and the tame? The wild heart that wants to be free, and the tame heart that wants to come home. I want to be held. I don't want you to come too close. I want you to scoop me up and bring me home at nights. I don't want to tell you where I am. I want to keep a place among the rocks where no one can find me. I want to be with you.”

“Truth for anyone is a very complex thing. For a writer, what you leave out says as much as those things you include. What lies beyond the margin of the text? The photographer frames the shot; writers frame their world. Mrs Winterson objected to what I had put in, but it seemed to me that what I had left out was the story’s silent twin. There are so many things that we can’t say, because they are too painful. We hope that the things we can say will soothe the rest, or appease it in some way. Stories are compensatory. The world is unfair, unjust, unknowable, out of control. When we tell a story we exercise control, but in such a way as to leave a gap, an opening. It is a version, but never the final one. And perhaps we hope that the silences will be heard by someone else, and the story can continue, can be retold. When we write we offer the silence as much as the story. Words are the part of silence that can be spoken. Mrs Winterson would have preferred it if I had been silent.Do you remember the story of Philomel who is raped and then has her tongue ripped out by the rapist so that she can never tell? I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words. I needed words because unhappy families are conspiracies of silence. The one who breaks the silence is never forgiven. He or she has to learn to forgive him or herself.”

“Lovers are not at their best when it matters. Mouths dry up, palms sweat, conversation flags and all the time the heart is threatening to fly from the body once and for all. Lovers have been known to have heart attacks. Lovers drink too much from nervousness and cannot perform. They eat too little and faint during their fervently wished consummation. They do not stroke the favoured cat and their face-paint comes loose. This is not all. Whatever you have set store by, your dress, your dinner, your poetry, will go wrong.”