“Listening to the sound of the water, her sound, her lovely body glistening through the room a moment from now. There are only moments. Live in this one. The happiness of these days.”

“There are only moments. Live in this one. The happiness of these days.”

“Comprehending at one bound the myth of Demeter and knowing that she was Demeter, that the fountain between her thighs was my own youth and I Persephone, who had come to her in spring and would come forever, for she was my youth, older than I and yet my youth, my ever-recurrent spring, and spring itself only a metaphor for the source, the waters, the hidden river, the tunnel of life between her thighs.”

“Come here." I stop like a thief in a pantomime. And then dive into the warmth next to her. "Snuggling" - surely the most pleasant thing in the world. Scrunching further and further into the mattress as we struggle closer and closer warmer and warmer nearer and nearer, our bodies like a letter fitting into an envelope, my legs over her legs, our hips sliding against each other, her arm tighter and tighter around my shoulders, my face nestled more and more firmly into her collarbone. It is bliss. The simplest and most primitive bliss. A childlike, sexual, friendly, animal bliss.”

“To love is simply to allow another to be, live, grow, expand, become. An appreciation that demands and expects nothing in return.”

“In sex one wants or does not want. And the grief, the sorrow of life is that one cannot make or coerce or persuade the wanting, cannot command it, cannot request it by mail order or finagle it through bureaucratic channels.”

“Writing is so much more problematic than drawing, full of moral pitfalls, ambiguity, public responsibility. If you record a day of your life, does the decision to do so change the shape of the day? One of Doris Lessing's days in The Golden Notebook is fifty-four pages long. It's complete; the rest are summaries - the "impression" of a day foisted artfully upon the reader by providing a few details. Fiction is made this way - as lineal perspective gives the illusion of three dimensions in drawing. But does the selection of a day - that you begin by knowing you must remember and observe - really affect it? Do you change the balance, distort the truth? The period itself, its choice and selection, does that not in itself constitute a kind of misconstruction, and the rest follow subconsciously?”