“Bereavement is a darkness impenetrable to the imagination of the unbereaved”

“T. S. Eliot and Jean-Paul Sartre, dissimilar enough as thinkers, both tend to undervalue prose and to deny it any imaginative function. Poetry is the creation of linguistic quasi-things; prose is for explanation and exposition, it is essentially didactic, documentary, informative. Prose is ideally transparent; it is only faute de mieux written in words. The influential modern stylist is Hemingway. It would be almost inconceivable now to write like Landor. Most modern English novels indeed are not written. One feels they could slip into some other medium without much loss. It takes a foreigner like Nabokov or an Irishman like Beckett to animate prose language into an imaginative stuff in its own right.”

“The division of one day from the next must be one of the most profound peculiarities of life on this planet. We are not condemned to sustained flights of being, but are constantly refreshed by little holidays from ourselves. We are intermittent creatures, always falling to little ends and rising to new beginnings. Our soon-tired consciousness is meted out in chapters, and that the world will look quite different tomorrow is, both for our comfort and our discomfort, usually true. How marvelously too night matches sleep, sweet image of it, so nearly apportioned to our need. Angels must wonder at these beings who fall so regularly out of awareness into a fantasm-infested dark. How our frail identities survive these chasms no philosopher has ever been able to explain.”

“Even those novelists most commonly deemed “philosophical” have sometimes answered with an emphatic no. Iris Murdoch, the longtime Oxford philosopher and author of some two dozen novels treating highbrow themes like consciousness and morality, argued that philosophy and literature were contrary pursuits. Philosophy calls on the analytical mind to solve conceptual problems in an “austere, unselfish, candid” prose, she said in a BBC interview broadcast in 1978, while literature looks to the imagination to show us something “mysterious, ambiguous, particular” about the world. Any appearance of philosophical ideas in her own novels was an inconsequential reflection of what she happened to know. “If I knew about sailing ships I would put in sailing ships,” she said. “And in a way, as a novelist, I would rather know about sailing ships than about philosophy.”

“To lose somebody is to lose not only their person but all those modes and manifestations into which their person has flowed outwards; so that in losing a beloved one may find so many things, pictures, poems, melodies, places lost too: Dante, Avignon, a song of Shakespeare's, the Cornish sea.”

“The bicycle is the most civilized conveyance known to man. Other forms of transport grow daily more nightmarish. Only the bicycle remains pure in heart.”

“Only the very greatest art invigorates without consoling.”