“For the last fifty years or so, The Novel’s demise has been broadcast on an almost weekly basis. Yet it strikes me that whatever happens, however else the geography of the imagination might modify in the future in, say, the digital ether, The Novel will continue to survive for some long time to come because it is able to investigate and cherish two things that film, music, painting, dance, architecture, drama, podcasts, cellphone exchanges, and even poetry can’t in a lush, protracted mode. The first is the intricacy and beauty of language—especially the polyphonic qualities of it to which Bakhtin first drew our attention. And the second is human consciousness. What other art form allows one to feel we are entering and inhabiting another mind for hundreds of pages and several weeks on end?”

“I believed in belief, for its own shining sake. To believe in the face of utter hopelessness, every article of evidence to the contrary, to ignore apparent catastrophe - what other choice was there? We are so much stronger than we imagine, and belief is one of the most valiant and long-lived human characteristics. To believe, when all along we humans know that nothing can cure the briefness of this life, that there is no remedy for our basic mortality, that is a form of bravery. To continue believing in yourself...believing in whatever I chose to believe in, that was the most important thing.”

“What will be the physiognomy of painting, of poetry, of music, in a hundred years? No one can tell. As after the fall of Athens, of Rome, a long pause will intervene, caused by the exhaustion of consciousness itself. Humanity, to rejoin the past, must invent a second naiveté, without which the arts can never begin again.”

“In film, there are two ways of including human beings. One is depicting human beings. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.”

“When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence.”

“Pain is temporary. It may last a minute, or an hour, or a day, or a year, but eventually it will subside and something else will take its place. If I quit, however, it lasts forever.”

“Suffering, I was beginning to think, was essential to a good life, and as inextricable from such a life as bliss. It’s a great enhancer. It might last a minute, but eventually it subsides, and when it does, something else takes its place, and maybe that thing is a great space. For happiness. Each time I encountered suffering, I believed that I grew, and further defined my capacities – not just my physical ones, but my interior ones as well, for contentment, friendship, or any other human experience.”