It was silly, wasn't it? But the singing made it not silly.

The hardest lesson is Clare’s solitude. Sometimes I come home and Clare seems kind of irritated; I’ve interrupted some train of thought, broken into the dreary silence of her day. Sometimes I see an expression on Clare’s face that is like a closed door. She has gone inside the room of her mind and is sitting there knitting or something. I’ve discovered that Clare likes to be alone. But when I return from time traveling she is always relieved to see me.

I guess no matter what your family is like, you're not surprised.

The compelling thing about making art — or making anything, I suppose — is the moment when the vaporous, insubstantial idea becomes a solid there, a thing, a substance in a world of substances. Circe, Nimbue, Artemis, Athena, all the old sorceresses: they must have known the feeling as they transformed mere men into fabulous creatures, stole the secrets of the magicians, disposed armies: ah, look, there it is, the new thing. Call it a swine, a war, a laurel tree. Call it art.

Oh. A bigger studio. It dawns on me, stupid me, that Henry could win the lottery at any time at all; that he has never bothered to do so because it's not normal; that he has decided to set aside his fanatical dedication to living like a normal person so I can have a studio big enough to roller-skate across; that I am being an ingrate. "Clare? Earth to Clare..." "Thank you," I say, too abruptly.

…she smiles in an exhausted but warm sort of way, as though she is a brilliant sun in some other galaxy

Mom had just gotten back from Sydney, and she had brought me an immense, surpassingly blue butterfly, Papilio ulysses, mounted in a frame filled with cotton. I would hold it close to my face, so close I couldn't see anything but that blue. It would fill me with a feeling, a feeling I later tried to duplicate with alcohol and finally found again with Clare, a feeling of unity, oblivion, mindlessness in the best sense of the word.