“There is also a keen pleasure (and after all, what else should the pursuit of science produce?) in meeting the riddle of the initial blossoming of man's mind by postulating a voluptuous pause in the growth of the rest of nature, a lolling and loafing which allowed first of all the formation of Homo poeticus-- without which sapiens could not have been evolved. "Struggle for life" indeed! The curse of battle and toil leads man back to the boar, to the grunting beast's crazy obsession with the search for food. You and I have frequently remarked upon that maniacal glint in a housewife's scheming eye as it roves over food in a grocery or about the morgue of a butcher's shop. Toilers of the world, disband! Old books are wrong. The world was made on a Sunday. ”

“... 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.”

“In reading, one should notice and fondle details. There is nothing wrong about the moonshine of generalization when it comes after the sunny trifles of the book have been lovingly collected. If one begins with a readymade generalization, one begins at the wrong end and travels away from the book before one has started to understand it. Nothing is more boring or more unfair to the author than starting to read, say, Madame Bovary, with the preconceived notion that it is a denunciation of the bourgeoisie. We should always remember that the work of art is invariably the creation of a new world, so that the first thing we should do is to study that new world as closely as possible, approaching it as something brand new, having no obvious connection with the worlds we already know. When this new world has been closely studied, then and only then let us examine its links with other worlds, other branches of knowledge.”

“Aunt Rosa, a fussy, angular, wild-eyed old lady, who had lived in a tremulous world of bad news, bankruptcies, train accidents, cancerous growths—until the Germans put her to death, together with all the people she had worried about.”

“The act of vividly recalling a patch of the past is something that I seem to have been performing with the utmost zest all my life, and I have reason to believe that this almost pathological keenness of the retrospective faculty is a hereditary trait.”

“If he was silent I could be silent too. Indeed, I could very well do with a little rest in this subdued, frightened-to-death rocking chair, before I drove to wherever the beast's lair was - and then pulled the pistol's foreskin back, and then enjoyed the orgasm of the crushed trigger.”

“I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. Let visitors trip. And the highest enjoyment of timelessness―in a landscape selected at random―is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It is like a momentary vacuum into which rushes all that I love. A sense of oneness with sun and stone. A thrill of gratitude to whom it may concern―to the contrapuntal genius of human fate or to tender ghosts humoring a lucky mortal.”