“We have it all arranged in our minds, and the less often we see a particular person the more satisfying it is to check how obediently he conforms to our notion of him every time we hear of him. Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We would prefer not to have known our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.”

“I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. [...] Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them. Thus X will never compose the immortal music that would clash with the second-rate symphonies he has accustomed us to. Y will never commit murder. Under no circumstances can Z ever betray us. We have it all arranged in our minds, and the less often we see a particular person, the more satisfying it is to check how obediently he conforms to our notion of him every time we hear of him. Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We could prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.”

“No matter how many times we read "King Lear," never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert's father's timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds...”

“... 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.”

“...it turned out to be only our former chauffeur, Tsiganov, who had thought nothing of riding all the way from St. Petersburg, on buffers and freight cars, through the immense, frosty and savage expanse of revolutionary Russia, for the mere purpose of bringing us a very welcome sum of money sent us by good friends of ours. After a month's stay, Tsiganov declared the Crimean scenary bored him and departed---to go all the way back north, with a big bag over his shoulder, containing various articles which we would have gladly given him had we thought he coveted them (such as a tourser press, tennis shoes, a nigthshirt, an alarm clock, a flat iron, several other ridiculous things I have forgotten) and the absence of which only gradually came to light if not pointed out, with vindictive zeal, by an anemic servant girl whose pale charms he had also rifled.”

“We had been everywhere. We had really seen nothing. And I catch myself thinking today that our long journey had only defiled with a sinuous trail of slime the lovely, trustful, dreamy, enormous country that by then, in retrospect, was no more to us than a collection of dog-eared maps, ruined tour books, old tires, and her sobs in the night — every night, every night — the moment I feigned sleep.”

“A wonderful point in favor of some kind of hereafter is this: When the mind rejects as childishly absurd a paradise with musical angels or abstract colonnades with Horace and Milton in togas conversing and walking together through the eternal twilight, or the protracted voluptas of the orient or any other eternity -- such as the one with devils and porcupines -- we forget that if we could have imagined life before living it would have seemed more improbable than all our hereafters”