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“(...) I was full of piss and vinegar in those days, not to mention too stupid to know better, in other words still in my twenties (...).”

“[Liebe wirkt Wunder:]
das Honigsein vergällt es,
das Süßsein verbittert es,
das Feuchtsein entflammt es,
das Mildsein veräzt es,
die herzen entherzt es,
die ganze Welt verkehrt es.”

“Und ist es nicht immer das eigene im Andern, das uns am meisten entsetzt? / Czyż nie to, co jest z nas, nie przeraża nas najbardziej w innym człowieku? (s.19)”

“Aktorzy nie mówią, oni SĄ mówieniem.
[ Die Schauspieler SIND das Sprechen, sie sprechen nicht]”

“Es wird vorwärts gelebt und rückwärts verstanden - das Leben --- Żyjemy do przodu i rozumiemy życie wstecz”

“Gideon Cross. Na samo wspomnienie jego imienia moje ciało ogarniały fale pożądania i tęsknoty.”

“- To nie tak (…) Przecież wiesz, co do siebie czujemy.
- Pewnie. Każde z was z osobna jest niespełna rozumu. Razem tworzycie istne wariatkowo.”

“Czasami na myśl o tym, jak bardzo go potrzebuję, odczuwałam przerażenie. Zdawało mi się, że jest dla mnie wszystkim. Że bardziej wolę być przy nim niż z moim najbliższym przyjacielem, któremu w tej chwili jestem niemal tak samo potrzebna, jak Gideon mnie.”

“The monomyth is a single great circle of tales marking out each stage in the hero's life: from birth to death; then on again, through resurrection and rebirth.”

“Auch wenn wir das nur ungern sagen,
so trifft doch dieses Sätzlein zu:
"Schönheit ist Gefährlichkeit!." ”

“- Sławuś, wiem, że ty miałeś piątkę z matury, ale zlituj się i nie mów do mnie w tym paskudnym języku, z którego rozumiem tylko Borussia Dortmund, Ausweis, bitte i Volkswagen- das Auto.”

“Cierpienie w zapalczywym działaniu.”

“To zabawne - pomyślał. - Nie rozmawiamy o pewnych rzeczach, dlatego że nie są ważne albo dlatego że są zbyt ważne.”

“Nieuzasadnione jest oczekiwanie dojrzałego zachowania od niedojrzałego mózgu.”

“W teatrze każdy może spotkać siebie samego i nieuważnie przejść obok samego siebie, ponieważ się przy tym jeszcze nie dość intensywnie ze sobą spotkał. Wierzę, że teatr jest jedynym miejscem, w którym to jest możliwe.
[Auf dem Theater kann jeder sich selbst begegnen und achtlos an sich vorübergehen, weil er sich dabei noch immer nicht fest genug getroffen hat. ich glaube, das Theater ist der einzige Ort, an dem das möglich ist.]”

“Lesson learned? When people say, ‘You really, really must’ do something, it means you don’t really have to. No one ever says, ‘You really, really must deliver the baby during labor.’ When it’s true, it doesn’t need to be said.”

“(...) I share almost ninety-nine per cent of my genes with a chimpanzee - and our longevity is virtually the same - but I don't think you have an inkling of how much more I comprehend, and yet I know I must tear myself away from it. For example, I have a good grasp of just how infinitely great outer space is and how it's divided into galaxies and clusters of galaxies, spirals and lone stars, and that there are healthy stars and febrile red giants, white dwarfs and neutron stars, planets ans asteroids. I know everything about the sun and moon, about the evolution of life on earth, about the Pharaohs and the Chinese dynasties, the countries of the world and their peoples as presently constituted, not to mention all the studying I've done on plants and animals, canals and lakes, rivers and mountain passes. Without even a pause for thought I can tell you the names of several hundred cities, I can tell you the names of nearly all the countries in the world, and I know the approximate populations of every one. I have a knowledge of the historical background of the different cultures, their religion and mythology, and to a certain extent also the history of their languages, in particular etymological relationships, especially within the Indo-European family of languages, but I can certainly reel off a goodly number of expressions from the Semitic language too, and the same from Chinese and Japanese, not to mention all the topographical and personal names I know. In addition, I'm acquainted with several hundred individuals personally, and just from my own small country I could, at the drop of a hat, supply you with several thousand names of loving fellow countrymen whom I know something about - fairly extensive biographical knowledge in some cases. And I needn't confine myself to Norwegians, we're living more and more in a global village, and soon the village square will cover the entire galaxy. On another level, there are all the people I'm genuinely fond of, although it isn't just people one gets attached to, but places as well: just think of the all the places I know like the back of my hand, and where I can tell if someone's gone chopped down a bush or moved a stone. Then there are books, especially all those that have taught me so much about the biosphere and outer space, but also literary works, and through them all the imaginary people whose lives I've come to know and who, at times, have meant a great deal to me. And then I couldn't live without music, and I'm very eclectic, everything from folk music and Renaissance music to Schonberg and Penderecki, but I have to admit, and this has a bearing on the very perspective we're trying to gain, I have to admit to having a particular penchant for romantic music, and this, don't forget, can also be found amongst the works of Bach and Gluck, not to mention Albinoni. But romantic music has existed in every age, and even Plato warned against it because he believed that melancholy could actually weaken the state, and it's patently clear when you get to Puccini and Mahler that music has become a direct expression of what I'm trying to get you to comprehend, that life is too short and that the way human beings are fashioned means they must take leave of far too much. If you've heard Mahler's Abschied from Das Lied von the Erde you'll know what I mean. Hopefully you'll have understood that it's the farewell itself I'm referring to, the actual leave- taking, and that this takes place in the self-same organ where everything I'm saying goodbye to is stored.”