In Chinese love stories the one who loves always starts by borrowing a book from the beloved.

A name with a gently exotic ring to it, like birdsong, like a grain of sand in the far-off Gobi Desert or the northern steppes, whipped up by the wind, carried by storms, swirling through the sky, travelling, crossing whole countries without knowing quite how, and ending up in the crook of my ear.

I was carried away, swept along by the mighty stream of words pouring from the hundreds of pages. To me it was the ultimate book: once you had read it, neither your own life nor the world you lived in would ever look the same.

In the end we had changed the position of the hands so many times that we had no idea what the time really was.

Our imagination is dictated by who we are. (198)

It would evidently take more than a political regime, more than dire poverty to stop a woman from wanting to be well-dressed: it was a desire as old as the world, as old as the desire for children.

Calligraphy may well be simply an artistic version of another form, that is the ideograms which make up the poem, but then not only does it reflect the character and temperament of the artist but . . . also betrays his heart rate, his breathing.

A woman's beauty is a treasure beyond price.