“The old, slow, creaking descriptions are a thing of the past; today the rule is brevity - but every word must be supercharged, high-voltage.”

“White-crested waves crash on the shore. The masts sway violently, every which way. In the gray sky the gulls are circling like white flakes. Rain squalls blow past like gray slanting sails, and blue gaps open in the sky. The air brightens. A cold silvery evening. The moon is overhead, and down below, in the water; and all around it-a wide frame of old, hammered, scaly silver. Etched on the silver-silent black fishing boats, tiny black needles of masts, little black men casting invisible lines into the silver. And the only sounds are the occasional plashing of an oar, the creaking of an oarlock, the springlike leap and flip-flop of a fish. ("The North")”

“No matter how limited their powers of reason might have been. still they must have understood that living like that was just murder, a capital crime - except it was slow, day-by-day murder. The government (or humanity) could not permit capital punishment for one man, but they permitted the murder of millions a little at a time. To kill one man - that is, to subtract 50 years from the sum of all human lives - that was a crime; but to subtract from the sum of all human lives 50,000,000 years - that was not a crime! No, really, isn't it funny? This problem in moral math could be solved in half a minute by any ten-year-old Number today, but they couldn't solve it. All their Kant's together couldn't solve it (because it never occurred to one of their Kant's to construct a system of scientific ethics - that is, one based on subtraction, addition, division, and multiplication).”

“She moved nearer, leaned her shoulder against me — and we were one, and something flowed from her into me, and I knew: this is how it must be. I knew it with every nerve, and every hair, every heartbeat, so sweet it verged on pain. And what joy to submit to this 'must'. A piece of iron must feel such joy as it submits to the precise, inevitable law that draws it to a magnet. Or a stone, thrown up, hesitating a moment, then plunging headlong back to earth. Or a man, after the final agony, taking a last deep breath — and dying.”

“It was clear: I was sick. I never used to dream. They say in the old days it was the most normal thing in the world to have dreams. Which makes sense: Their whole life was some kind of horrible merry-go-round of green, orange, Buddha, juice. But today we know that dreams point to a serious mental illness. And I know that up to now my brain has checked out chronometrically perfect, a mechanism without a speck of dust.”

“Life itself has lost its plane reality: it is projected, not along the old fixed points, but along the dynamic coordinates of Einstein, of revolution. In this new projection, the best-known formulas and objects become displaced, fantastic, familiar-unfamiliar. This is why it is so logical for literature today to be drawn to the fantastic plot, or to the amalgam of reality and fantasy. ("The New Russian Prose")”

“Gripped with bitter cold, ice-locked, Petersburg burned in delirium. One knew: out there, invisible behind the curtain of fog, the red and yellow columns, spires, and hoary gates and fences crept on tiptoe, creaking and shuffling. A fevered, impossible, icy sun hung in the fog - to the left, to the right, above, below - a dove over a house on fire. From the delirium-born, misty world, dragon men dived up into the earthly world, belched fog - heard in the misty world as words, but here becoming nothing - round white puffs of smoke. The dragon men dived up and disappeared again into the fog. And trolleys rushed screeching out of the earthly world into the unknown. ("The Dragon")”