When my friend Melot set the trap, I think I knew it. I turned to death full face, as I had turned to love with my whole body. I would let death enter me as you had entered me. You had crept along my blood vessels through the wound, and the blood that circulates returns to the heart. You circulated me, you made me blush like a girl in the hoop of your hands. You were in my arteries and my lymph, you were the colour just under my skin, and if I cut myself, it was you I bled. Red Isolde, alive on my fingers, and always the force of blood pushing you back to my heart.

For my part, I think we need more emotion, not less. But I think, too, that we need to educate people in how to feel. Emotionalism is not the same as emotion. We cannot cut out emotion - in the economy of the human body, it is the limbic, not the neural, highway that takes precedence. We are not robots...but we act as though all our problems would be solved if only we had no emotions to cloud our judgement.

There is no discovery without risk and what you risk reveals what you value.

Any measurement must take into account the position of the observer. There is no such thing as measurement absolute, there is only measurement relative.

I walked out to brood on this life of ours, which seems from birth to death to be a steady loss, disguised by sudden gains and happiness, which persuade us of good fortune, when all the while the glass is emptying.

The continuous narrative of existence is a lie. There is no continuous narrative, there are lit-up moments, and the rest is dark. When you look closely, the twenty-four hour day is framed into a moment; the still-life of the jerky amphetamine world. That woman-a pieta. Those men, rough angels with an unknown message. The children holding hands, spanning time. And in every still-life, there is a story, the story that tells you everything you need to know.

Walls protect and walls limit. It is in the nature of walls that they should fall. That walls should fall is the consequence of blowing your own trumpet.