“She may be lying in bed reading a book, she may be making love with a prize fighter, or she may be running like mad through a field of stubble, one shoe one, one shoe off, a man named Corn Cob pursuing her hotly. Wherever she is I am standing in complete darkness; her absence blots me out.”

“I am thinking of one woman and the rest is blotto. I say I am thinking of her, but the truth is I am dying a stellar death. I am lying there like a sick star waiting for the light to go out. Years ago I lay on this same bed and I waited and waited to be born. Nothing happened. Except that my mother, in her Lutheran rage, threw a bucket of water over me. My mother, poor imbecile that she was, thought I was lazy. She didn't know that I had gotten caught in the stellar drift, that I was being pulverized to a black extinction out there in the farthest rim of the universe.”

“Germaine, on the other hand, was a whore from the cradle; she was thoroughly satisfied with her role, enjoyed it in fact, except when her stomach pinched or her shoes gave out, little surface things of no account, nothing that ate into her soul, nothing that created torment. Ennui! That was the worst she ever felt. Days there were, no doubt, when she had a bellyful, as we say – but no more than that! Most of the time she enjoyed it – or gave the illusion of enjoying it. It made a difference, of course, whom she went with – or came with. But the principal thing was a man. A man! That was what she craved. A man with something between his legs that could tickle her, that could make her writhe in ecstasy, make her grab that bushy twat of hers with both hands and rub it joyfully, boastfully, proudly, with a sense of connection, a sense of life. That was the only place where she experienced any life – down there where she clutched herself with both hands.”

“Tomorrow you may bring about the destruction of your world. Tomorrow you may sing in Paradise above the smoking ruins of your world-cities. But tonight I would like to think of one man, a lone individual, a man without name or country, a man whom I respect because he has absolutely nothing in common with you - MYSELF. Tonight I shall meditate upon that which I am.”

“She rises up out of a sea of faces and embraces me, embraces me passionately--- a thousand eyes, noses, fingers, legs, bottles, windows, purses, saucers all glaring at us an we in each other's arm oblivious. I sit down beside her and she talks--- a flood of talk. Wild consumptive notes of hysteria, perversion, leprosy. I hear not a word because she is beautiful and I love her and now I am happy and willing to die.”

“It was the end for me. And yet not an end. In all the years which have since elapsed she remains the woman I loved and lost, the unattainable one [...] I see myself forever and ever as the ridiculous man, the lonely soul, the wanderer, the restless frustrated artist, the man in love with love, always in search of the absolute, always seeking the unattainable. —Henry Miller, Stand Still like the Hummingbird (1962)”

“Standing in the courtyard with a glass eye; only half the world is intelligible. The stones are wet and mossy and in the crevices are black toads. A big door bars the entrance to the cellar; the steps are slippery and soiled with bat dung. The door bulges and sags, the hinges are falling off, but there is an enameled sign on it, in perfect condition, which says: “Be sure to close the door.” Why close the door? I can’t make it out. I look again at the sign but it is removed; in it’s place there is a pane of colored glass. I take out my artificial eye, spit on it and polish it with my handkerchief. A woman is sitting on a dais above an immense carven desk; she has a snake around her neck. The entire room is lined with books and strange fish swimming in colored globes; there are maps and charts on the wall, maps of Paris before the plague, maps of the antique world, of Knossos and Carthage, of Carthage before and after the salting. In the corner of the room I see an iron bedstead and on it a corpse is lying; the woman gets up wearily, removes the corpse from the bed and absent mindedly throws it out the window. She returns to the huge carven desk, takes a goldfish from the bowl and swallows it. Slowly the room begins to revolve and one by one the continents slide into the sea; only the woman is left, but her body is a mass of geography. I lean out the window and the Eiffle Tower is fizzing champagne; it is built entirely of numbers and shrouded in black lace. The sewers are gurgling furiously. There are nothing but roofs everywhere, laid out with execrable geometric cunning.”