“Lyra learns to her great cost that fantasy isn’t enough. She has been lying all her life, telling stories to people, making up fantasies, and suddenly she comes to a point where that’s not enough. All she can do is tell the truth. She tells the truth about her childhood, about the experiences she had in Oxford, and that is what saves her. True experience, not fantasy - reality, not lies - is what saves us in the end.”

“And now she was thinking of her own death, with her heart gripped not by fear but by the excitement of a great discovery, the feeling that she was about to learn what she had been unable to learn from her brief experience of love. What she thought about death was childish, but what could never have touched her in the past now filled her with poignant tenderness, as sometimes a familiar face we see suddenly with the eyes of love makes us aware that it has been dearer to us than life itself for longer than we have ever realized.”

“When a woman is frozen of feeling, when she can no longer feel herself, when her blood, her passion, no longer reach the extremities of her psyche, when she is desperate; then a fantasy life is far more pleasurable than anything else she can set her sights upon. Her little match lights, because they have no wood to burn, instead burn up the psyche as though it were a big dry log. The psyche begins to play tricks on itself; it lives now in the fantasy fire of all yearning fulfilled. This kind of fantasizing is like a lie: If you tell it often enough, you begin to believe it.”

“She starkly sees her inanimate future blocked out before her right through to her own end—without him... ...and worst of all, she knows she will be asked about him and be called upon to talk about him and tell the story again and again...her jaws will work without end with all that talking her jaws will chew up the ravel of all her remaining life, telling the same story until it becomes bare and alien and something blunt to her; more the belonging of other people, and no longer hers. Now she has to live ordinarily...she's going to have to numb herself if she's going to go on—no going on from this point without getting numb.”

“She can never tell him what she started to say: that we come to love those who save us. For although Anna does believe this is true, the word that stuck in her throat was not save but shame.”

“Cathy did not forget her lies, and she developed the most effective method of lying. She stayed close enough to the truth so that one could never be sure. She knew two other methods also––either to interlard her lies with truth or to tell a truth as though it were a lie. If one is accused of a lie and it turns out to be the truth, there is a backlog that will last a long time and protect a number of untruths.”