“I once heard an author describe writing as taking bits and pieces of her experiences and observations, then she questions, dissects, and analyzes them. She extrapolates from them, stretching the thought out. Then she adds from her imagination a big dose of what might have been, a good measure of what would never be, and spices it all with wishful thinking.”

“She could not make up her mind what would be inside his head and what out. She thought of her own head as a switchbox where she controlled from; but with him, she could only imagine the outside in, the whole black world in his head and his head bigger than the world, his head big enough to include the sky and planets and whatever was or had been or would be.”

“Later, Wendy would tell people on the ship that they had battled pirates. But she would never say that Tiger Lily had betrayed them, or that she had rescued them either. Because that would have meant asking a question she couldn't comprehend asking: why the native girl might have wanted her dead. It didn't fit her ideas of who was bad, and who was good, and what was a happy ending, and what wasn't.”

“But this first clumsy attempt showed her that the imagination itself was a source of secrets: once she had begun a story, no one could be told. Pretending in words was too tentative, too vulnerable, too embarrassing to let anyone know. Even writing out the she saids, the and thens, made her wince, and she felt foolish, appearing to know about the emotions of an imaginary being. Self-exposure was inevitable the moment she described a character's weakness; the reader was bound to speculate that she was describing herself. What other authority could she have?”

“She observed the dumb-show by which her neighbour was expressing her passion for music, but she refrained from copying it. This was not to say that, for once that she had consented to spend a few minutes in Mme. de Saint-Euverte's house, the Princesse des Laumes would not have wished (so that the act of politeness to her hostess which she had performed by coming might, so to speak, 'count double') to shew herself as friendly and obliging as possible. But she had a natural horror of what she called 'exaggerating,' and always made a point of letting people see that she 'simply must not' indulge in any display of emotion that was not in keeping with the tone of the circle in which she moved, although such displays never failed to make an impression upon her, by virtue of that spirit of imitation, akin to timidity, which is developed in the most self-confident persons, by contact with an unfamiliar environment, even though it be inferior to their own. She began to ask herself whether these gesticulations might not, perhaps, be a necessary concomitant of the piece of music that was being played, a piece which, it might be, was in a different category from all the music that she had ever heard before; and whether to abstain from them was not a sign of her own inability to understand the music, and of discourtesy towards the lady of the house; with the result that, in order to express by a compromise both of her contradictory inclinations in turn, at one moment she would merely straighten her shoulder-straps or feel in her golden hair for the little balls of coral or of pink enamel, frosted with tiny diamonds, which formed its simple but effective ornament, studying, with a cold interest, her impassioned neighbour, while at another she would beat time for a few bars with her fan, but, so as not to forfeit her independence, she would beat a different time from the pianist's.”

“All this time she’d thought it God’s will that she be a spinster. She had grown content with that expectation, taking satisfaction in the wisdom she’d gained through her experience with Stephen. No man would dupe her again. But what if living alone was never part of God’s plan for her? What if she chose that life because it was safe—because she was afraid?”