“That chair -shall I ever forget it? Where the shadows fell on the canvas upholstery, stripes of a deep but glowing indigo alternated with stripes of an incandescence so intensely bright that it was hard to believe that they could be made of anything but blue fire. For what seemed an immensely long time I gazed without knowing, even without wishing to know, what it was that confronted me. At any other time I would have seen a chair barred with alternate light and shade. Today the percept had swallowed up the concept. I was so completely absorbed in looking, so thunderstruck by what I actually saw, that I could not be aware of anything else. Garden furniture, laths, sunlight, shadow - these were no more than names and notions, mere verbalizations, for utilitarian or scientific purposes, after the event. The event was this succession of azure furnace doors separated by gulfs of unfathomable gentian. It was inexpressibly wonderful, wonderful to the point, almost, of being terrifying.”

“And along with indifference to space, there was an even more complete indifference to time. "There seems to be plenty of it", was all I would answer when the investigator asked me to say what I felt about time. Plenty of it, but exactly how much was entirely irrelevant. I could, of course, have looked at my watch but my watch I knew was in another universe. My actual experience had been, was still, of an indefinite duration. Or alternatively, of a perpetual present made up of one continually changing apocalypse.”

“Neither agreeable nor disagreeable," I answered. "It just is."Istigkeit — wasn't that the word Meister Eckhart liked to use? "Is-ness." The Being of Platonic philosophy — except that Plato seems to have made the enormous, the grotesque mistake of separating Being from becoming and identifying it with the mathematical abstraction of the Idea. He could never, poor fellow, have seen a bunch of flowers shining with their own inner light and all but quivering under the pressure of the significance with which they were charged; could never have perceived that what rose and iris and carnation so intensely signified was nothing more, and nothing less, than what they were — a transience that was yet eternal life, a perpetual perishing that was at the same time pure Being, a bundle of minute, unique particulars in which, by some unspeakable and yet self-evident paradox, was to be seen the divine source of all existence.”

“The legs, for example, of that chair--how miraculous their tubularity, how supernatural their polished smoothness! I spent several minutes--or was it several centuries?--not merely gazing at those bamboo legs, but actually being them---or rather being myself in them; or, to be still more accurate (for "I" was not involved in the case, nor in a certain sense were "they") being my Not-self in the Not-self which was the chair.”

“With me, travelling is frankly a vice. The temptation to indulge in it is one which I find almost as hard to resist as the temptation to read promiscuously, omnivorously and without purpose. From time to time, it is true, I make a desperate resolution to mend my ways. I sketch out programmes of useful, serious reading; I try to turn my rambling voyages into systematic tours through the history of art and civilization. But without much success. After a little I relapse into my old bad ways. Deplorable weakness! I try to comfort myself with the hope that even my vices may be of some profit to me.”

“But, Bernard, you're saying the most awful things.''Don't you wish you were free, Lenina?''I don't know what you mean. I am free. Free to have the most wonderful time. Everybody's happy nowadays.'He laughed, 'Yes, "Everybody's happy nowadays." We begin giving children that at five. But wouldn't you like to be free to e happy in some other way, Lenina? In your own way, for example; not in everybody else's way.”

“I'm pretty good at inventing phrases- you know, the sort of words that suddenly make you jump, almost as though you'd sat on a pin, they seem so new and exciting even though they're about something hypnopaedically obvious. But that doesn't seem enough. It's not enough for the phrases to be good; what you make with them ought to be good too...I feel I could do something much more important. Yes, and more intense, more violent. But what? What is there more important to say? And how can one be violent about the sort of things one's expected to write about? Words can be like X-rays, if you use them properly-they'll go through anything. You read them and you're pierced. That's one of the things I try to teach my students-how to write piercingly. But what on earth's the good of being pierced by an article about a Community Sing, or the latest improvement in scent organs? Besides, can you make words really piercing-you know, like the very hardest X-rays when you're writing about that sort of thing? Can you say something about nothing?”