Michael Ondaatje

I'll be looking at the moon, but I'll be seeing you.

when someone speaks he looks at a mouth, not eyes and their colors, which, it seems to him, will always alter depending on the light of a room, the minute of the day. Mouths reveal insecurity or smugness or any other point on the spectrum of character. For him they are the most intricate aspect of faces. He's never sure what an eye reveals. but he can read how mouths darken into callousness, suggest tenderness. One can often misjudge an eye from its reaction to a simple beam of sunlight.

All I desired was to walk upon such an earth that had no maps.

A man in a desert can hold absence in his cupped hands knowing it is something more than water. There is a plant whose heart, if one cuts it out is replaced with fluid containing herbal goodness. Every morning one can drink the liquid amount of the missing heart.

The desert could not be claimed or owned — it was a piece of cloth carried by winds, never held down by stones, and given a hundred shifting names before Canterbury existed, long before battles and treaties quilted Europe and the East ... All of us, even those with European homes and children in the distance, wished to remove the clothing of our countries. It was a place of faith. We disappeared into landscape.

A novel is a mirror walking down a road

Could you fall in love with her if she wasn't smarter than you? I mean, she may not be smarter than you. But isn't it important for you to think she is smarter than you in order to fall in love? Think now.

She lights a match in the dark hall and moves it onto the wick of the candle. Light lifts itself onto her shoulders. She is on her knees. She puts her hands on her thighs and breathes in the smell of the sulphur. She imagines she slap breathes in light.

From this point on, she whispered, we will either find or lose our souls.

Every night I cut out my heart. But in the morning it was full again

This last night we tear into each other, as if to wound, as if to find the key to everything before morning.

How we are almost nothing. We think, in our youth, we are the centre of the universe, but we simply respond, go this way or that by accident, survive or improve by the luck of the draw, with little choice or determination on our part.

I believe in such cartography – to be marked by nature, not just label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. ... All I desired was to walk upon such an earth that had no maps.

Before the real city could be seen it had to be imagined, the way rumours and tall tales were a kind of charting.

Everything is biographical, Lucian Freud says. What we make, why it is made, how we draw a dog, who it is we are drawn to, why we cannot forget. Everything is collage, even genetics. There is the hidden presence of others in us, even those we have known briefly. We contain them for the rest of our lives, at every border we cross.

I believe this. When we meet those we fall in love with, there is an aspect of our spirit that is historian, a bit of a pedant who reminisces or remembers a meeting when the other has passed by innocently…but all parts of the body must be ready for the other, all atoms must jump in one direction for desire to occur.

She had grown older. And he loved her more now than he had loved her when he understood her better, when she was the product of her parents. What she was now was what she herself had decided to become.

She had always wanted words, she loved them; grew up on them. Words gave her clarity, brought reason, shape.

You think that you are an iconoclast, but you’re not. You just move, or replace what you cannot have. If you fail at something, you retreat into something else. Nothing changes you.... I left you because I knew I could never change you. You would stand in the room so still sometimes, as if the greatest betrayal of yourself would be to reveal one more inch of your character.

Her life with others no longer interests him. He wants only her stalking beauty, her theatre of expressions. He wants the minute secret reflection between them, the depth of field minimal, their foreignness intimate like two pages of a closed book.

For the first forty days a child is given dreams of previous lives. Journeys, winding paths, a hundred small lessons and then the past is erased.