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Quote by Sebastian Faulks

Work

Engleby

Engleby is a character-driven narrative that follows the enigmatic Engleby as he navigates the complexities of his past and present. The story unfolds in a manner that invites readers to piece together the puzzle of Engleby's life, examining the impact of his actions and the secrets he keeps. more

Author

Sebastian Faulks
Sebastian Faulks

Sebastian Faulks is a renowned British novelist known for his delicate writing style and profound character portrayals. His works cover a range of themes including World War II, love, and history, with 'Birdsong' and 'The Man Who Could Not Stop Laughing' being his most representative works. more

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“Maybe Laney's right. Maybe June did love me. But I'm far less certain that she knew I loved her. Did she realise how much I needed her around? It's not like I ever told her. I was too wrapped up in my own world to notice what was going on in hers. Even if she did know, it wasn't enough to count. It wasn't enough to make her stay. So really, what did it matter, in the end? The bottom line is, it's my fault. I didn't love her enough. I didn't do enough. I wasn't enough. There's no excuse. There is nothing that will ever make that okay.”

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“She always used to suspect that the price for happiness, the price for enjoying the company of a person you loved, was the steadily increasing risk of losing them, and at times, when she considered the possibility that she might lose Isabel or Clancy or, in the early days, Todd, Bernice didn't think she could stand it, didn't think she could go on living in a universe whose laws forced her to submit to such a terrible fear. Now she sees what a small price it is to pay, what staggering joy she received in return. You should be willing to pay that price for as little as a few days or hours with a person you love, she thinks, rubbing her fingers across a patch of linoleum the years have worn down to a cloudy smear.”

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“Mid-Term Break I sat all morning in the college sick bay Counting bells knelling classes to a close. At two o'clock our neighbours drove me home. In the porch I met my father crying— He had always taken funerals in his stride— And Big Jim Evans saying it was a hard blow. The baby cooed and laughed and rocked the pram When I came in, and I was embarrassed By old men standing up to shake my hand And tell me they were 'sorry for my trouble'. Whispers informed strangers I was the eldest, Away at school, as my mother held my hand In hers and coughed out angry tearless sighs. At ten o'clock the ambulance arrived With the corpse, stanched and bandaged by the nurses. Next morning I went up into the room. Snowdrops And candles soothed the bedside; I saw him For the first time in six weeks. Paler now, Wearing a poppy bruise on his left temple, He lay in the four-foot box as in his cot. No gaudy scars, the bumper knocked him clear. A four-foot box, a foot for every year.”

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“Snapping shut his mobile, Dalgliesh reflected that murder, a unique crime for which no reparation is ever possible, imposes it own compulsions as well as it's conventions. He doubted whether Macklefield [the murder victim's Will attorney] would have interrupted his country weekend for a less sensational crime. As a young officer he, too, had been touched, if unwillingly and temporarily, by the power of murder to attract even while it appalled and repelled. He had watched how people involved as innocent bystanders, provided they were unburdened by grief or suspicion, were engrossed by homicide, drawn inexorably to the place where the crime had occurred in fascinated disbelief. The crowd and the media who served them had not yet congregated outside the wrought-iron gates of the Manor. But they would come, and he doubted whether Chandler-Powell's [owner of the Manor where the murder was committed] private security team would be able to do more than inconvenience them.”

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Book:The Private Patient
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