“Contemporary' was in those days [1953] synonymous with 'modern' as it had not been before and is not now [1977].”

“In the end it wins a king's daughter, who is expected to burn its hedgehog-skin at night, and does so, and finds herself clasping a beautiful prince, all singed and soot-black. Christabel says, 'And if he regretted his armoury of spines and his quick wild wits, history does not relate, for we must go no further, having reached the happy end.”

“Think of this – that the writer wrote alone, and the reader read alone, and they were alone with each other. True, the writer may have been alone also with Spenser's golden apples in the Faerie Queene, Proserpina's garden, glistening bright among the place's ashes and cinders, may have seen in his mind's eye, apple of his eye, the golden fruit of the Primavera, may have seen Paradise Lost, in the garden where Eve recalled Pomona and Proserpina. He was alone when he wrote and he was not alone then, all these voices sang, the same words, golden apples, different words in different places, an Irish castle, un unseen cottage, elastic-walled and grey round blind eyes.”

“I do not want to be a relative and passive being, anywhere. I want to live and love and write.”

“Think of this- that the writer wrote alone, and the reader read alone, and they were alone with each other.”

“As for Fergus. He had a habit which Maud was not experienced enough to recognise as a common one in ex-lovers of giving little tugs at the carefully severed spider-threads or puppet-strings which had once tied her to him.”

“[H]is mouth pursed, but pursed in American, more generous than English pursing, ready for broader vowels and less mincing sounds. His body was long and lean and trim; he had American hips, ready for a neat belt and the faraway ghost of a gunbelt.”

“He had been violently confused by her real presence in the opposite inaccessible corner. For months he had been possessed by the imagination of her. She had been distant and closed away, a princess in a tower, and his imagination’s work had been all to make her present, all of her, to his mind and senses, the quickness of her and the mystery, the whiteness of her, which was part of her extreme magnetism, and the green look of those piercing or occluded eyes. Her presence had been unimaginable, or more strictly, only to be imagined. Yet here she was, and he was engaged in observing the ways in which she resembled, or differed from, the woman he dreamed, or reached for in sleep, or would fight for.”

“it [In Memoriam] expressed exactly the nature of her own shock and sorrow, the very structure and slow process of pain, and the transformations and transmutations of grief, like rot in the earth-mould, like roots and other blind things moving in the grave.”

“Vocabularies are crossing circles and loops. We are defined by the lines we choose to cross or to be confined by.”

“History, writing, infect after a time a man's sense of himself...”