“Ever since the days when such formidable mediocrities as Galsworthy, Dreiser, Tagore, Maxim Gorky, Romain Rolland and Thomas Mann were being accepted as geniuses, I have been perplexed and amused by fabricated notions about so-called "great books." That, for instance, Mann's asinine "Death in Venice," or Pasternak's melodramatic, vilely written "Dr. Zhivago," or Faulkner's corn-cobby chronicles can be considered "masterpieces" or at least what journalists term "great books," is to me the sort of absurd delusion as when a hypnotized person makes love to a chair. My greatest masterpieces of twentieth century prose are, in this order: Joyce's "Ulysses"; Kafka's "Transformation"; Bely's "St. Petersburg," and the first half of Proust's fairy tale, "In Search of Lost Time.”

“Many accepted authors simply do not exist for me. Their names are engraved on empty graves, their books are dummies, they are complete nonentities insofar as my taste in reading is concerned. Brecht, Faulkner, Camus, many others, mean absolutely nothing to me, and I must fight a suspicion of conspiracy against my brain when I see blandly accepted as “great literature” by critics and fellow authors Lady Chatterley's copulations or the pretentious nonsense of Mr. Pound, that total fake. I note he has replaced Dr. Schweitzer in some homes.”

“There exist few things more tedious than a discussion of general ideas inflicted by author or reader upon a work of fiction. The purpose of this foreword is not to show that "Bend Sinister" belongs or does not belong to "serious literature" (which is a euphemism for the hollow profundity and the ever-welcome commonplace). I have never been interested in what is called the literature of social comment (in journalistic and commercial parlance: "great books"). I am not "sincere," I am not "provocative," I am not "satirical." I am neither a didacticist nor an allegorizer. Politics and economics, atomic bombs, primitive and abstract art forms, the entire Orient, symptoms of "thaw" in Soviet Russia, the Future of Mankind, and so on, leave me supremely indifferent. As in the case of my "Invitation to a Beheading" - with which this book has obvious affinities - automatic comparisons between "Bend Sinister" and Kafka's creations or Orwell's cliches would go merely to prove that the automaton could not have read either the great German writer or the mediocre English one.”

“There was a time in my demented youthWhen somehow I suspected that the truthAbout survival after death was knownTo every human being: I aloneKnew nothing, and a great conspiracyOf books and people hid the truth from me.”

“All great novels are great fairy tales.”

“Between the ages of ten and fifteen in St. Petersburg, I must have read more fiction and poetry—English, Russian and French—than in any other five-year period of my life. I relished especially the works of Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Chekhov, Tolstoy, and Alexander Blok. On another level, my heroes were the Scarlet Pimpernel, Phileas Fogg, and Sherlock Holmes. In other words, I was a perfectly normal trilingual child in a family with a large library. At a later period, in Western Europe, between the ages of 20 and 40, my favorites were Housman, Rupert Brooke, Norman Douglas, Bergson, Joyce, Proust, and Pushkin. Of these top favorites, several—Poe, Jules Verne, Emmuska Orezy, Conan Doyle, and Rupert Brooke—have lost the glamour and thrill they held for me. The others remain intact and by now are probably beyond change as far as I am concerned.”

“... one cannot read a book: one can only reread it. A good reader, a major reader, an active and creative reader is a rereader. And I shall tell you why. When we read a book for the first time the very process of laboriously moving our eyes from left to right, line after line, page after page, this complicated physical work upon the book, the very process of learning in terms of space and time what the book is about, this stands between us and artistic appreciation. When we look at a painting we do no have to move our eyes in a special way even if, as in a book, the picture contains elements of depth and development. The element of time does not really enter in a first contact with a painting. In reading a book, we must have time to acquaint ourselves with it. We have no physical organ (as we have the eye in regard to a painting) that takes in the whole picture and can enjoy its details. But at a second, or third, or fourth reading we do, in a sense, behave towards a book as we do towards a painting. However, let us not confuse the physical eye, that monstrous achievement of evolution, with the mind, an even more monstrous achievement. A book, no matter what it is - a work of fiction or a work of science (the boundary line between the two is not as clear as is generally believed) - a book of fiction appeals first of all to the mind. The mind, the brain, the top of the tingling spine, is, or should be, the only instrument used upon a book.”