“Mariac tells us about the books he's read, the painters he's liked, the plays he's seen. He finds himself by looking in the works of others. He defines his own faith by a passionate anger against Gide the Luciferian. Reading his 'memories' is like meeting a man on a train who says, 'Don't look at me; that's misleading. If you want to know what I'm like, wait until we're in a tunnel, and then study my reflection in the window.' You wait, and look, and catch a face against a shifting background of sooty walls, cables, and sudden brickwork. The transparent shape flickers and jumps, always a few feet away. You become accustomed to its existence, you move with its movements; and though you know its presence is conditional, you feel it to be permanent. Then there is a wail from ahead, a roar and a burst of light; the face is gone for ever.”

“I have something I need to tell you," he says. I run my fingers along the tendons in his hands and look back at him. "I might be in love with you." He smiles a little. "I'm waiting until I'm sure to tell you, though.""That's sensible of you," I say, smiling too. "We should find some paper so you can make a list or a chart or something."I feel his laughter against my side, his nose sliding along my jaw, his lips pressing my ear."Maybe I'm already sure," he says, "and I just don't want to frighten you."I laugh a little. "Then you should know better.""Fine," he says. "Then I love you.”

“I remember a man, a very lonely man, coming up to me at the end of a reading and looking into my face and saying, 'I feel as if I have looked down a corridor and seen into your soul.' And I looked at him and said, 'You haven't.' You know, Here's the good news and the bad news: you haven't! I made something, and you and I could look at it together, but it's not me; you don’t live with me; you're not intimate with me. You're not the man I live with or my friend. You will never know me in that way. I'm making something, like Joseph Cornell makes his boxes and everyone looks into them, but it's the box you look into; it's not the man or the woman. It's alchemy of language and memory and imagination and time and music and sounds that gets made, and that's different from 'Here is what happened to me when I was ten.”

“He says he knows someone isn't from the same race as he when that person looks at his library and asks, 'Have you read all of these?' A true book lover knows that, no, he hasn't read them all. It's about the process, it's about when the right reference comes up, you have the right book to go to; it's about never being without something to occupy your eyes and mind.”

“He shook his head, staring at her like a condemned man who beheld the face of his executioner. "Aline," he whispered, "Do you know what hell is?""Yes." Her eyes overflowed. "Trying to exist with your heart living somewhere outside your body.""No. It's knowing that you have so little faith in my love, you would have condemned me to a lifetime of agony." His face contorted suddenly. "To something worse than death.”

“I stand to leave, but my father says, “Wait!” over the red telephone. “Let me just look at you a minute.” He smiles at me proudly. “I know you been in some trouble, son, but you turned out good. That’s all I ever wanted,” he tells me. Then he puts his hand against the glass and I put my hand against the glass. “I love you,” he says.“I love you, too,” I say back.”