“Poetic simile was strictly limited to statements like 'his mighty steed was as fleet as the wind on a fairly calm day, say about Force Three,' and any loose talk about a beloved having a face that launched a thousand ships would have to be backed by evidence that the object of desire did indeed look like a bottle of champagne.”

“Was this the face that launched a thousand ships/And burnt the topless towers of Ilium?”

“It wasn't a beautiful face. But it was a nice face. It wasn't a face that could launch a thousand ships. Maybe two ships and a small yacht.”

“I couldn't have written [What Good Are The Arts?] because I--and I'm not alone, by any means--do not have Carey's breadth of reading, nor his calm, wry logic, which enables him to demolish the arguments of just about everyone who has ever talked tosh about objective aesthetic principles. And this group, it turns out, includes anyone who has ever talked about objective aesthetic principles.”

“When I ask Plutarch about his absence, he just shakes his head and says, "He couldnt face it.""Haymitch? Not able to face something? Wanted a day off, more likely," I say."I think his actual words were 'I couldn't face it without a bottle,'" says Plutarch.”

“The thing about champagne,you say, unfoiling the cork, unwinding the wire restraint, is that is the ultimate associative object. Every time you open a bottle of champagne, it's a celebration, so there's no better way of starting a celebration than opening a bottle of champagne. Every time you sip it, you're sipping from all those other celebrations. The joy accumulates over time.”