“In a way, her strangeness, her naiveté, her craving for the other half of her equation was the consequence of an idle imagination. Had she paints, or clay, or knew the discipline of the dance, or strings, had she anything to engage her tremendous curiosity and her gift for metaphor, she might have exchanged the restlessness and preoccupation with whim for an activity that provided her with all she yearned for. And like an artist with no art form, she became dangerous.”

“She believed in the miraculous. Or she had, until she reached an age when, all of a sudden, she realized that the life she was living, was in fact, her life. The clay of her being, so long infinitely malleable, had been formed, hardened into what now seemed a palpable, unchanging object. A shell she inhabited. It shocked her then. It shocked her now, like a slap in the face. ”

“She couldn't imagine why there was such a difference between those children and her. She couldn't imagine why she and all these other people with her had to be treated this way. Who decided this, and what for?”

“The girl was lighter without her heart. She danced barefoot on the hot roads, and her feet were not cut by the glass or stones that studded her way. She spoke to the dead whenever they visited her. She tried to be kind, but they realised that they no longer had anything in common with her, and she realised it, too. So they went their separate ways.”

“One of the things I liked about her [Dorothy] was that she had long fingernails that she would carefully manicure and paint to fit her mood. If she were in a happy mood, her nails would be bright red. If she were feeling like she wanted to eviscerate her mother she would paint her nails burgundy.”

“Her curiosity was too much for her. She felt almost as if she could hear the books whispering on the other side of the half-open door. They were promising her a thousand unknown stories, a thousand doors into worlds she had never seen before.”