“The two dozen commonplace childhood photographs - snowsuit, pony, tennis racket, looming fender of a Dodge - were an inexhaustible source of wonder for him, at her having existed before he met her, and of sadness for his possessing nothing of the ten million minutes of that black-and-white scallop-edged existence save these few proofs.”

“Bina rolls her eyes, hands on her hips, glances at the door. Then she comes over and drops her bag and plops down beside him. How many times, he wonders, can she have enough of him, already, and still have not quite enough?”

“He took a step toward her, than another, tentatively, gathering all his strength, as though about to throw a heavy switch that would, if his calculations were correct, bring light to a hundred cities and ten thousand darkened rooms. He was going to ask her to dance - that was all.”

“Approaching the Williamsburg Bridge - not really certain of how he had managed to find himself there - he experienced an extraordinary moment of buoyancy, of grace. There was a lot more traffic now, but his shifting was smooth and the sturdy little car was adroit at changing lanes. He launched himself out over the East River. He could feel the bridge humming underneath his wheels and all around him could sense the engineering of it, the forces and tensions and rivets that were all conspiring to keep him aloft. To the south, he glimpsed the Manhattan Bridge, with its Parisian air, refined, elegant, its skirts hiked to reveal tapered steel legs, and, beyond, the Brooklyn Bridge, like a great ropy strand of muscle. In the other direction lay the Queensboro Bridge, like two great iron tsarinas linking hands to dance. And before him, the city that had sheltered him and swallowed him and made him a modest fortune loomed, gray and brown, festooned with swags and boas of some misty gray stuff, a compound of harbor fog and spring dew and its own steamy exhalations. Hope had been his enemy, a frailty that he must at all costs master, for so long now that it was a moment before he was willing to concede that he had let it back into his heart.”

“Airplane Dream #13' told the story, more or less, of a dream Rosa had had about the end of the world. There were no human beings left but her, and she had found herself flying in a pink seaplane to an island inhabited by sentient lemurs. There seemed to be a lot more to it -- there was a kind of graphic "sound track" constructed around images relating to Peter Tchaikovsky and his works, and of course abundant food imagery -- but this was, as far as Joe could tell, the gist. The story was told entirely through collage, with pictures clipped from magazines and books. There were pictures from anatomy texts, an exploded musculature of the human leg, a pictorial explanation of peristalsis. She had found an old history of India, and many of the lemurs of her dream-apocalypse had the heads and calm, horizontal gazes of Hindu princes and goddesses. A seafood cookbook, rich with color photographs of boiled crustacea and poached whole fish with jellied stares, had been throughly mined. Sometimes she inscribed text across the pictures, none of which made a good deal of sense to him; a few pages consisted almost entirely of her brambly writing, illuminated, as it were, with collage. There were some penciled-in cartoonish marginalia like the creatures found loitering at the edges of pages in medieval books.”

“Get dressed,' Bina says. 'And do yourself a favor? Clean this shit up. Look at this dump. I can't believe you're living like this. Sweet God, aren't you ashamed of yourself?' Once Bina Gelbfish believed in Meyer Landsman. Or she believed from the moment she met him, that there was a sense in that meeting, that some detectable intention lay behind their marriage. They were twisted like a pair of chromosomes, of course they were, but where Landsman saw in that twisting together only a tangle, a chance snarling of lines, Bina saw the hand of the Maker of Knots. And for her faith, Landsman repaid her with his faith in Nothing itself. 'Only every time I see your face,' Landsman says.”

“The April night on which Sammy felt most aware of the luster of his existence - the moment when, for the first time in his life, he was fully conscious of his own happiness - was a night that he would never discuss with anyone at all.”