“Now I am a lake. A woman bends over me,
Searching my reaches for what she really is.
Then she turns to those liars, the candles or the moon.
I see her back, and reflect it faithfully.
She rewards me with tears and an agitation of hands.
I am important to her. She comes and goes.
Each morning it is her face that replaces the darkness.
In me she has drowned a young girl, and in me an old woman
Rises toward her day after day, like a terrible fish.”

Poem XIX, translated by Wu Fusheng and Graham Hartill in The Poem of Ruan Ji (2006), p. 39, as reported in Constructing Irregular Theology (2009) by Paul S. Chung, p. 13

Light (1919), Ch. XIX - Ghosts

Light (1919), Ch. XXIII - Face To Face
Context: Against the window's still pallid sky I see her hair, silvered with a moonlike sheen, and her night-veiled face. Closely I look at the share of sublimity which she bears on it, and I reflect that I am infinitely attached to this woman, that it is not true to say she is of less moment to me because desire no longer throws me on her as it used to do. Is it habit? No, not only that. Everywhere habit exerts its gentle strength, perhaps between us two also. But there is more. There is not only the narrowness of rooms to bring us together. There is more, there is more! So I say to her:
"There's you."
"Me?" she says. "I'm nothing."
"Yes, you are everything, you're everything to me."

Sherilyn Fenn, quoted in "Fenn-Tastic! Meet Twin Peaks’ Mysterious Siren Sherilyn Fenn", by Glenn O'Brien. Playboy. December 1990. p. 82-91, 213-214.
on portraying Audrey Horne in Twin Peaks.

Source: A Farewell to Arms

Life & Times of Michael K (1983)
Context: He closed his eyes and tried to recover in his imagination the mudbrick walls and reed roof of her stories, the garden of prickly pear, the chickens scampering for the feed scattered by the little barefoot girl. And behind that child, in the doorway, her face obscured by shadow, he searched for a second woman, the woman from whom his mother had come into the world. When my mother was dying in the hospital, he thought, when she knew her end was coming, it was not me she looked to but someone who stood behind me: her mother or the ghost of her mother. To me she was a woman but to herself she was still a child calling to her mother to hold her hand and help her. And her own mother, in the secret life we do not see, was a child too. I come from a line of children without end.

A Woman in Love (It's Not Me), written with Mike Campbell
Lyrics, Hard Promises (1981)

As quoted in The Linguist and the Emperor : Napoleon and Champollion's Quest to Decipher the Rosetta Stone (2004) by Daniel Meyerson
Attributed

In "On Gangubai Hangal by Sabina Sehgal Computer Science & Engineering - University of Washington".