‘He is a collection of tissues and cells delicately and intricately conjoined and brought to life for only an instant. It will take just one sharp collision or a fall to render them inanimate again,’ realises Rabih, the quiet hero of Alain de Botton’s The Course of Love. ‘He is only a visitor who has managed to confuse his self with the world. He h

“When I’ve thought about him dying—which admittedly isn’t that much—I always thought of it like you said, that all the strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships sink, or maybe we’re grass—our roots so interdependent that no one is dead as long as someone is still alive. We don

It’s your body and your brain—and your life, even though you weren’t able to make much use of it. I don’t have the right to take it away from you. Nobody does. Who’s to say that my light is better than your darkness? Who’s to say death is better than your darkness? Who am I to say? . . .

Il s’était persuadé qu’il voulait mourir à côté d’elle, et ce sentiment était manifestement excessif : il la voyait alors pour la deuxième fois de sa vie ! N’était-ce pas plutôt la réaction hystérique d’un homme qui, comprenant en son for intérieur son inaptitude à l’amour, commençait à se jouer à lui-même la comédie de l’amour ? En même temps, son