“This is where the story starts, in this threadbare room. The walls are exploding. The windows have turned into telescopes. Moon and stars are magnified in this room. The sun hangs over the mantelpiece. I stretch out my hand and reach the corners of the world. The world is bundled up in this room. Beyond the door, where the river is, where the roads are, we shall be. We can take the world with us when we go and sling the sun under your arm. Hurry now, it's getting late. I don't know if this is a happy ending but here we are let loose in open fields.”

“Do you wake up as I do, having forgotten what it is that hurts or where, until you move? There is a second of consciousness that is clean again. A second that is you, without memory or experience, the animal warm and waking into a brand new world. There is the sun dissolving the dark, and light as clear as music, filling the room where you sleep and the other rooms behind your eyes.”

“There is a bit [in Why Be Happy When You Could be Normal?] where I talk about 'keeping the heart awake to love and beauty.' That’s very difficult in our world, even when things are going well. It’s not a world with much room for love and beauty. The daily news is [filled with] everything that goes wrong in our world, and everything horrible and unpleasant. I think that saturates your mind with negativity. I really think we need something to counteract that. I don’t think it’s Pollyanna or sentimental to focus on the ways we support one another on the micro level.(from "It is the Imagination that Counts")”

“I lay there, stretched out, looking at the one star visible through the tiny window of the room. Only connect. How can you do that when the connections are broken?”

“When you follow a star you know you will never reach that star; rather it will guide you to where you want to go. ... So it is with the world. It will only ever lead you back to yourself.”

“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.”

“Under the night rug, the star rug, moon as lantern, man in the moon watching over us, dog star at his heels, we lay.”