“The principle was, death should not be entered like some snug harbor. It should be an unambiguous refusal to surrender.”

“But then what is the alternative to trying to tell the truth about the Holocaust, the Famine, the Armenian genocide, the injustice of dispossession in the Americas and Australia? That everyone should be reduced to silence? To pretend that the Holocaust was the work merely of a well-armed minority who didn’t do as much harm as is claimed-and likewise, to argue that the Irish Famine was either an inevitability or the fault of the Irish-is to say that both were mere unreliable rumors, and not the great motors of history they so obviously proved to be. It suited me to think so at the time, but still I believe it to be true, that if there are going to be areas of history which are off-bounds, then in principle we are reduced to fudging, to cosmetic narrative. ”

“Now, even if he and Dr B made their decision, D didn't know if he had the rigour to feed the cyanide to the ill, or to watch someone else do it and maintain a professional disposition. It was absurdley like the argument in one's youth, about whether you should approach a girl you were infatuated with. And when you'd decide, it still counted for nothing. The act still had to be faced.”

“The taste one gets of death in dreams I find more penetrating and atmospheric than the ordinary fear one might suffer while awake.”

“Oskar knew people would catch that trolley anyhow. Doors closed, no stops, machine guns on walls—it wouldn’t matter. Humans were incurable that way. People would try to get off it, someone’s loyal Polish maid with a parcel of sausage. And people would try to get on, some fast-moving athletic young man like Leopold Pfefferberg with a pocketful of diamonds or Occupation złoty or a message in code for the partisans. People responded to any slim chance, even if it was an outside one, its doors locked shut, moving fast between mute walls.”

“The dogs were really keening now, like Irish widows.”

“It is not too fantastic to say that he desired them with some of the absolute passion that characterised the exposed and flaming heart of Jesus which hung on Emilie’s wall. Since this narrative has tried to avoid the canonisation of the Herr Direktor, the idea of the sensual Oskar as the desirer of souls has to be proved.”