“…always felt the pain of her friends so keenly that she could not speak easy, fluent words of comforting. Besides, she remembered how well-meant speeches had hurt her in her own sorrow and was afraid.”

“And then she felt her Ell’s great strong presence beside her, and Saturday slipped his hand in hers. Oh. Oh. They would not abandon her. Of course, they would not. How silly she had been. They were her friends—they had always been. Friends can go odd on you and do things you don’t like, but that doesn’t make them strangers.”

“I remember when my daughter was just learning her letters. She was playing in her room and came downstairs to ask me, “Momma, what does C-H-I-N-A spell?” “China,” I told her (she knew what the word meant—she had friends from there). “So,” she asked next, “why is it written on everything?”

“From the first time he’d met her, he’d sensed an air of contradiction about her. She was very much a woman, but still retained a waiflike quality. She could be brash, and at times deliberately suggestive, yet she was painfully shy. She was incredibly easy to get along with, yet she had few friends. She was a talented artist in her own right, but so self-conscious about her work that she rarely completed a piece and preferred to work with other people’s art and ideas...”

“Hannah thought back to her first time with Aidan, remembering how utterly certain she'd felt then, how confident that she was carrying out God's will. This feeling was entirely different. She had only her own volition to follow, her own desire to act upon, or not. Whatever decision she made would be hers alone.”

“Listen to a woman speak at a public gathering (if she hasn't painfully lost her wind). She doesn't "speak," she throws her trembling body forward; she lets go of herself, she flies; all of her passes into her voice, and it's with her body that she vitally sup- ports the "logic" of her speech. Her flesh speaks true. She lays herself bare. In fact, she physically materializes what she's thinking; she signifies it with her body. In a certain way she inscribes what she's saying, because she doesn't deny her drives the intractable and impassioned part they have in speaking. Her speech, even when "theoretical" or political, is never simple or linear or "objectified," generalized: she draws her story into history.”