I try to see the whole woman,' Eddie said to Hannah. 'Of course I recognize that she's old, but there are photographs - or the equivalent of photographs in one's imagination of anyone's life. A whole life, I mean. I can picture her when she was much younger than I am - because there are always gestures and expressions that are ingrained, ageless. An old woman doesn't see herself as an old woman, and neither do I. I try to see her her whole life in her. There's something so moving about someone's whole life.

My brain is sending poison to my heart.

When I finally write the first sentence, I want to know everything that happens, so that I am not inventing the story as I write it - rather, I am remembering a story that has already happened.

Being wrong about important things is exhausting.

It is an important distinction to note that she looked not only as if she had taken good care of herself, but that she had good reason to have done so. (...) She looked to be in such total possession of her life that only the most confident men could continue to look at her if she looked back at them. Even in bus stations, she was a woman who was stared at only until she looked back.

He wished he could arrange a maiming as a kind of moral lesson

Because who can describe that look that triggers the memory of loved ones? Who can anticipate the frown, the smile, or the misplaced lock of hair that sends a swift, undeniable signal from the past? Who can ever estimate the power of association, which is always strongest in moments of love and in memories of death?