our real fears are the sounds of footsteps walking in the corridors of our minds, and the anxieties, the phantom floatings, they create.

Good writing is rewriting.

If you have a single narrator, a person like an "I" - "'I' did this" and "'I' did that" - it automatically solves the most difficult problem in writing.

Champagne does have one regular drawback: swilled as a regular thing a certain sourness settles in the tummy, and the result is permanent bad breath. Really incurable.

Did you ever, in that wonderland wilderness of adolesence [sic] ever, quite unexpectedly, see something, a dusk sky, a wild bird, a landscape, so exquisite terror touched you at the bone? And you are afraid, terribly afraid the smallest movement, a leaf, say, turning in the wind, will shatter all? That is, I think, the way love is, or should be: one lives in beautiful terror.

Those final weeks, spanning end of summer and the beginning of another autumn, are blurred in memory, perhaps because our understanding of each other had reached that sweet depth where two people communicate more often in silence than in words: an affectionate quietness replaces the tensions, the unrelaxed chatter and chasing about that produce a friendship’s more showy, more, in the surface sense, dramatic moments.

The brain may take advice, but not the heart, and love having no geography, knows no boundaries: weight and sink it deep, no matter, it will rise and find the surface: and why not? Any love is natural and beautiful that lies within a person's nature; only hypocrites would hold a man responsible for what he loves, emotional illiterates and those of righteous envy, who, in their agitated concern, mistake so frequently the arrow pointing to heaven for the one that leads to hell.