“My knowledge of Mr. Forster’s works is limited to one novel which I dislike; and anyway it was not he who fathered that trite little whimsy about characters getting out of hand; it is as old as the quills, although of course one sympathizes with his people if they try to wriggle out of that trip to India or whereever he takes them. My characters are galley slaves.”

“The problem lies not with the characters within the novel, but with the reader itself.”

“There is an old American saying 'He who lives in a glass house should not try to kill two birds with one stone.”

“And he absolutely had to find her at once to tell her that he adored her, but the large audience before him separated him from the door, and the notes reaching him through a succession of hands said that she was not available; that she was inaugurating a fire; that she had married an american businessman; that she had become a character in a novel; that she was dead.”

“Just as the universal family of gifted writers transcends national barriers, so is the gifted reader a universal figure, not subject to spatial or temporal laws. It is he—the good, the excellent reader—who has saved the artists again and again from being destroyed by emperors, dictators, priests, puritans, philistines, political moralists, policemen, postmasters, and prigs. Let me define this admirable reader. He does not belong to any specific nation or class. No director of conscience and no book club can manage his soul. His approach to a work of fiction is not governed by those juvenile emotions that make the mediocre reader identify himself with this or that character and “skip descriptions.” The good, the admirable reader identifies himself not with the boy or the girl in the book, but with the mind that conceived and composed that book. The admirable reader does not seek information about Russia in a Russian novel, for he knows that the Russia of Tolstoy or Chekhov is not the average Russia of history but a specific world imagined and created by individual genius. The admirable reader is not concerned with general ideas; he is interested in the particular vision. He likes the novel not because it helps him to get along with the group (to use a diabolical progressive-school cliche); he likes the novel because he imbibes and understands every detail of the text, enjoys what the author meant to be injoyed, beams inwardly and all over, is thrilled by the magic imageries of the master-forger, the fancy-forger, the conjuror, the artist. Indeed of all the characters that a great artist creates, his readers are the best. (“Russian Writers, Censors, and Readers”)”

“Old Azureus's manner of welcoming people was a silent rhapsody. Ecstatically beaming, slowly, tenderly, he would take your hand between his soft palms, hold it thus as if it were a long sought treasure or a sparrow all fluff and heart, in moist silence, peering at you the while with his beaming wrinkles rather than with his eyes, and then, very slowly, the silvery smile would start to dissolve, the tender old hands would gradually release their hold, a blank expression replace the fervent light of his pale fragile face, and he would leave you as if he had made a mistake, as if after all you were not the loved one - the loved one whom, the next moment, he would espy in another corner, and again the smile would dawn, again the hands would enfold the sparrow, again it would all dissolve.”

“Although I could never get used to the constant state of anxiety in which the guilty, the great, and the tenderhearted live, I felt I was doing my best in the way of mimicry.”