'De nada,' replied Gregorius. The Portuguese couple sat down, the train went on. Gregorius was never to forget this scene. They were his first Portuguese words in the real world and they worked. That words could cause something in the world, make someone move or stop, laugh or cry: even as a child he had found it extraordinary and it had never stopped impressing him.

We leave something of ourselves behind when we leave a place, we stay there, even though we go away. And there are things in us that we can find again only by going back there.

What did i know of your fantasies? Why do we know so little about the fantasies of our parents? What do we know of somebody if we know nothing of the images passed to him by his imagination?

It wasn't only that you didn't see him anymore, meet him anymore. You saw his absence and encountered it as something tangible. His not being there was like the sharply outlined emptiness of a photo with a figure cut out precisely with scissors and now the missing figure is more important, more dominant than all others.

Then there was a silence he had never before experienced: in it, you could hear the years.

AS SOMBRAS DA ALMA. THE SHADOWS OF THE SOUL. The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? But that isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?

Life is not what we live; it is what we imagine we are living.