“Why, my goodness, honey. After looking at all those pictures of seraphic and perspirationless babes for so long in the privacy of a foxhole, what is a poor doughfoot going to do when he comes home and discovers that American women are, after all, biological and given, under stress, to shiny noses?”

“What about my rights? What about a person's privacy? Did all that just go to hell after 9/11?”

“... we were all quiet for so long after, touched by the magnitude of it all. This is what we are connected to. What we are all connected to. When the lights go out, so do we.”

“He likes a day in the studio to end, he says, "when my knees are all skinned up and my pants are wet and my hair's off to one side and I feel like I've been in the foxhole all day. I don't think comfort is good for music. It's good to come out with skinned knuckles after wrestling with something you can't see. I like it when you come home at the end of the day from recording and someone says, "What happened to your hand?" And you don't even know. When you're in that place, you can dance on a broken ankle.”

“Good day, ladies,” he said with a distinctly American accent when all the women were above decks and the hatches closed. With a grin that took some of the edge off his fierce looks, he surveyed the crowd and added, “We’ve come to rescue you.”His words were so unexpected, so completely self-assured that Sara bristled. After all his blatant methods of intimidation, after he’d stood there surveying the women like cattle before the slaughter, he had the audacity to say such a thing!“Is that what they’re calling thievery, pillage, and rape these days?” she snapped.”

“Being with him after so long, after everything we'd endured...it was like coming home.”