“The trick to going wherever you want unchallenged in a hospital is to walk briskly, nod to the people you know, and ignore the ones you don’t. The nod reassures everyone that you are known, the brisk pace that you have a mission and don’t want to talk.”

“In there?'She nodded.'You want us to go into the tortoise?'Another nod.'It's alive.'Another nod.”

“I think there’s nothing left for me. I don’t think that for everyone else.”“So what do they have that you don’t at this point?”I press my lips together. I don’t want to talk about this anymore. I don’t want to talk about how everyone has something even if they don’t really have it anymore, that what they had makes them strong enough for this, to keep going.”

“You said you didn’t want to waste your time on people who aren’t going to matter,” I said, and he nodded. “But how do you know they’re not going to matter? Unless you give it a shot?”

“...the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings. They don’t surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover’s skin. You know how they end, yet you listen as though you don’t. In the way that although you know that one day you will die, you live as though you won’t. In the Great Stories you know who lives, who dies, who finds love, who doesn’t. And yet you want to know again.That is their mystery and their magic.”

“It took me a long time to realise that there are two kinds of writing: the one you write and the one that writes you. The one that writes you is dangerous. You go where you don’t want to go. You look where you don’t want to look.”