“We live in a uniform civilization, within well-defined cultural models: furnishings, decorative elements, blankets, record player have all been chosen among a certain number of given possibilities. What can they reveal to you about what she is really like?”

“It can also be useful to politics, enabling that science to discover how much of it is no more than verbal construction, myth, literary tops. Politics, like literature, must above all know itself and distrust itself. As a final observation, I should like to add that it is impossible today for anyone to feel innocent, if in whatever we do or say we can discover a hidden motive - that of a white man, or a male, or the possessor of a certain income, or a member of a given economic system, or a sufferer from a certain neurosis - this should not induce in us either a universal sense of guilt or an attitude of universal accusation. When we become aware of our disease or of our hidden motives, we have already begun to get the better of them. What matters is the way in which we accept our motives and live through the ensuing crisis. This is the only chance we have of becoming different from the way we are - that is, the only way of starting to invent a new way of being.”

“What about books? Well, precisely because you have denied it in every other field, you believe you may still grant yourself legitimately this youthful pleasure of expectation in a carefully circumscribed area like the field of books, where you can be lucky or unlucky, but the risk of disappointment isn't serious.”

“Once the process of falsification is set in motion, it won't stop. We're in a country where everything that can be falsified has been falsified: paintings in museums, gold ingots, bus tickets. The counterrevolution and the revolution fight with salvos of falsification: the result is that nobody can be sure what is true and what is false, the political police simulate revolutionary actions and the revolutionaries disguise themselves as policemen."And who gains by it, in the end?"It's too soon to say. We have to see who can best exploit the falsifications, their own and those of the others: whether it's the police or our organization."The taxi driver is pricking up his ears. You motion Corinna to restrain herself from making unwise remarks.But she says, "Don't be afraid. This is a fake taxi. What really alarms me, though, is that there is another taxi following us."Fake or real?"Fake, certainly, but I don't know whether it belongs to the police or to us.”

“If one wanted to depict the whole thing graphically, every episode, with its climax, would require a three-dimensional, or, rather, no model: every experience is unrepeatable. What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space.”

“The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of inferno, are not inferno, then make them endure, give them space.”

“There is still one of which you never speak.'Marco Polo bowed his head.'Venice,' the Khan said.Marco smiled. 'What else do you believe I have been talking to you about?'The emperor did not turn a hair. 'And yet I have never heard you mention that name.'And Polo said: 'Every time I describe a city I am saying something about Venice.”