“Poor soul, she always knew everything about her neighbors, but she never was very well acquainted with herself.”

“They knew each other. He knew her and so himself, for in truth he had never known himself. And she knew him and so herself, for although she had always known herself she had never been able to recognize it until now.”

“Admittedly, there was a lot she still didn't know about him, but she did know this: He completed her in a way that she'd never thought possible. Knowledge isn't everything, she told herself, and she knew then that, in Nana's words, he was the toast to her butter.”

“He promised her that he would give her everything, everything she wanted, as men in love always do. And she trusted him despite herself, as women in love always do.”

“Emma knew that she'd always been on the wrong side of the line that separated her from her parents, from Patrick and Annie and Nate, even from Peter. But how could she tell him that the reason she always acted so disinterested in everything was because of the worry that she herself wasn't all that interesting?”

“In classical pas de deux, the man controls everything. He picks up the girl. He puts her down. He turns her, takes her weight, stops her, and she must always go where he leads. The woman submits to all this completely. But her submission is not feeble. In fact, the only reason she can submit so utterly is because she is very strong in herself. In her center. She does not collapse, or cave, or stutter-step, or flop. No, she holds herself very consciously, very confidently. She is centered within her own weight. So the man always knows where she is. He can feel her. He can absorb her strength.”