“We must admit that he had eyes like drenched violets, so large that the water seemed to have brimmed in them and widened them; and a brow like the swelling of a marble dome pressed between the two blank medallions which were his temples.”

“Rhett glanced over his shoulder as if there had been a sound. His eyes met hers, and surprise stiffened his lithe body. For a long immeasurable moment the two of them looked at each other while the space between them widened. Then blandness smoothed Rhett's face as he touched two fingers to his hat brim in salute. Scarlett lifted her hand.”

“He could see now that asking the dead about his father was nearly useless, so burdened were they with their own losses and regrets and distractions. He had no right to press them. It was not enough merely to let them speak. If anything, he should try to bring them comfort, to shorten their suffering. Anything else was selfish, thoughtless, at best redundant. He was also finding it too easy to take on their pain, perhaps because he was more like them than he wanted to admit. Or rather, he had let himself become like them, a wanderer, someone lost in a world he had hewn from his own pain.”

“Shino looked at me straight in the eye and smiled, her face brimming with a kind of inner strength. That strength seemed to gather the beads of perspiration that glistened on her brow, then sprang from her face and leapt across to my heart with a rhythm like ripples on water.”

“My eyes darted between them, and even thoygh I was brimming with questions, it's like I had so many I had no idea where to begin. All I knew for sure was that I was going back.Back to the earth plane.The glorious earth plane!”

“Nor did these society people add to Elstir's work in their mind's eye that temporal perspective which enabled them to like, or at least to look without discomfort at, Chardin's painting. And yet the older among them might have reminded themselves that in the course of their lives they had gradually seen, as the years bore them away from it, the unbridgeable gulf between what they considered a masterpiece by Ingres and what they had supposed must forever remain a "horror" (Manet's Olympia, for example) shrink until the two canvases seemed like twins. But we never learn, because we lack the wisdom to work backwards from the particular to the general, and imagine ourselves always to be faced with an experience which has no precedents in the past.”