She smiled to prove everything was all right. It was an odd device, this rearrangement of muscles of the face which said everything is all right. No … - Bernard MacLaverty

He succeeded in persuading her back to look at The Jewish Bride. There was a crowd gathered around it. It was huge, big as a hoarding, a great slash of browns and yellows and reds. Two figures, a man and a woman on the edge of intimacy, or perhaps just after, about to coorie in to one another. Hands. Hands everywhere. A painting about touch. Stella joined the crowd and wormed her way to the front. Gerry watched her bite her lip as she gazed. She became aware of Gerry watching her. He excused himself and threaded his way to her side. "Well?" "There's a great tenderness in him," she said. "You can see he cherishes her." "Look at that big hand of his," Gerry said. "And the sleeve. Like a big croissant. The way he's put the paint on." "And the faces," she said. "But she's not so sure. Shy, yes. Sure, no. What sumptuous clothes." She pointed out the groom's hand around the woman's shoulder and his other hand resting on her breast. The bride's touch of the groom's hand.

They crossed a metal suspension bridge over a canal. Both sides of the structure bristled with padlocks. Some of the brass locks had felt-tipped names written on them. 'Don + Gwen', 'Micky & Minnie', 'Leo n Leonora'. One had a message written on it. 'Graham and Vickey. I love you more than Coco Pops.' "It must be some kind of love fest," Gerry said. "Clamped for ever."
"Have you seen this kinda thing before?" "I've heard of it." "It'll be the young ones." "Trendy ones."

You can't choose your children.