“I went on writing reviews for the newspaper, and critical articles crying out for a different approach to culture, as even the most inattentive reader could hardly fail to notice if he scratched the surface a little, critical articles crying out, indeed begging, for a return to the Greek and Latin greats, to the Troubadours, to the dolce stil nuovo and the classics of Spain, France and England, more culture! more culture! read Whitman and Pound and Eliot, read Neruda and Borges and Vallejo, read Victor Hugo, for God’s sake, and Tolstoy, and proudly I cried myself hoarse in the desert, but my vociferations and on occasions my howling could only be heard by those who were able to scratch the surface of my writings with the nails of their index fingers, and they were not many, but enough for me, and life went on and on and on, like a necklace of rice grains, on each grain of which a landscape had been painted, tiny grains and microscopic landscapes, and I knew that everyone was putting that necklace on and wearing it, but no one had the patience or the strength or the courage to take it off and look at it closely and decipher each landscape grain by grain, partly because to do so required the vision of a lynx or an eagle, and partly because the landscapes usually turned out to contain unpleasant surprises like coffins, makeshift cemeteries, ghost towns, the void and the horror, the smallness of being and its ridiculous will, people watching television, people going to football matches, boredom navigating the Chilean imagination like an enormous aircraft carrier. And that’s the truth. We were bored. We intellectuals. Because you can't read all day and all night. You can't write all day and all night. Splendid isolation has never been our style...”

“Ivanov had been a party member since 1902. Back then he had tried to write stories in the manner of Tolstoy, Chekhov, Gorky, or rather he had tried to plagiarize them without much success, which led him, after long reflection (a whole summer night), to the astute decision that he should write in the manner of Odoevsky and Lazhechnikov. Fifty percent Odoevsky and fifty percent Lazhecknikov. This went over well, in part because readers, their memories mostly faulty, had forgotten poor Odoevsky (1803-1869) and poor Lazhechnikov (1792-1869), who died the same year, and in part because literary criticism, as keen as ever, neither extrapolated nor made the connection nor noticed a thing.”

“One day when I went to see him (Picasso), we were looking at the dust dancing in a ray of sunlight that slanted in through one of the high windows. He said to me, 'Nobody has any real importance to me. As far as I'm concerned, other people are like those little grains of dust floating in the sunlight. It takes only a push of the broom and out they go.'I told him I had often noticed in his dealings with others that he considered the rest of the world only little grains of dust. But I said, as it happened, I was a little grain of dust gifted with autonomous movement and who didn't therefore need a broom. I could go out by myself.”

“One day or one night—between my days and nights, what difference can there be?—I dreamed that there was a grain of sand on the floor of my cell. Unconcerned, I went back to sleep; I dreamed that I woke up and there were two grains of sand. Again I slept; I dreamed that now there were three. Thus the grains of sand multiplied, little by little, until they filled the cell and I was dying beneath that hemisphere of sand. I realized that I was dreaming; with a vast effort I woke myself. But waking up was useless—I was suffocated by the countless sand. Someone said to me:You have wakened not out of sleep, but into a prior dream, and that dream lies within another, and so on, to infinity, which is the number of the grains of sand. The path that you are to take is endless, and you will die before you have truly awakened.I felt lost. The sand crushed my mouth, but I cried out: I cannot be killed by sand that I dream —nor is there any such thing as a dream within a dream.— Jorge Luis Borges, The Writing of the God”

“I went on happily reading well into the night, when no one ventured on to the decks of the Donizetti, except for sinful shadows who were careful not to interrupt me, careful not to disturb my reading, happiness, happiness, passion regained, genuine devotion, my prayers rising up and up through the clouds to the realm of pure music, to what for want of a better name we call the choir of the angels, a non-human space but undoubtedly the only imaginable space we humans can truly inhabit, an uninhabitable space but the only one worth inhabiting, a space in which we shall cease to be but the only space in which we can be what we truly are...”

“I try to find the books that I lost or forgot more than 30 years ago on another continent, with the hope and dedication and bitterness of those who search for their first lost books, books that if found I wouldn't read anyway, because I've already read them over and over, but that I would look at and touch just as the miser strokes the coins under which he's buried...Books are like ghosts”

“Of all the islands he'd visited, two stood out. The island of the past, he said, where the only time was past time and the inhabitants were bored and more or less happy, but where the weight of illusion was so great that the island sank a little deeper into the river every day. And the island of the future, where the only time was the future, and the inhabitants were planners and strivers, such strivers, said Ulises, that they were likely to end up devouring one another.”