“She thought a writer should work harder writing a book than she did reading it.”

“She wasn't all that interested, as a reader, in the reader. She was still partial to that increasingly eclipsed entity: the writer. Madeleine had a feeling that most semiotic theorists had been unpopular as children, often bullied or overlooked, and so had directed their lingering rage onto literature. They wanted to demote the author. They wanted a book, that hard-won, transcendent thing, to be a text, contingent, indeterminate, and open for suggestions. They wanted the reader to be the main thing. Because they were readers.Whereas Madeleine was perfectly happy with the idea of genius. She wanted a book to take her places she couldn't get to herself. She thought a writer should work harder writing a book than she did reading it.”

“She did not want to read this book from start to finish, or rather, she thought perhaps it did not want her to. Instead she practiced the art of bibliomancy, trusting the book to show her what it wanted her to know.”

“Ally wasn't disappointed in the writers: she hadn't expected anything from them in the first place; it hadn't occurred to her to be interested in writers as individuals beyond their work. To her relief no one whose books she'd read ever came to the centre, although sometimes she had to pretend to have read the writers who did. The writers could be fairly crazy, too; you had to be vigilant not to trip over their vanity or anxiety. Luckily, most of her favourites were dead. (She's the one, 151)”

“If a writer writes poems and short stories and novels, but nobody ever reads them, is she really a writer?”

“...she felt about reading what some writers felt about writing: that it was impossible not to do it and that at this late stage of her life she had been chosen to read as others were chosen to write.”