People who go on to be writers are those who can forgive themselves the horror of the first draft.

It seems, in fact, that the more advanced a society is, the greater will be its interest in ruined things, for it will see in them a redemptively sobering reminder of the fragility of its own achievements. Ruins pose a direct challenge to our concern with power and rank, with bustle and fame. They puncture the inflated folly of our exhaustive and frenetic pursuit of wealth.

Politics is so difficult, it's generally only people who aren't quite up to the task who feel convinced they are.

Perhaps because the origins of a certain kind of love lie in an impulse to escape ourselves and out weaknesses by an alliance with the beautiful and noble. But if the loved ones love us back, we are forced to return to ourselves, and are hence reminded of the things that had driven us into love in the first place. Perhaps it was not love we wanted after all, perhaps it was simply someone in whom to believe, but how can we continue to believe the the beloved now that they believe in us?

When Proust urges us to evaluate the world properly, he repeatedly reminds us of the value of modest scenes.

In a secularising world, art has replaced religion as a touchstone of our reverence and devotion.

Her lie was symptomatic of a certain pride she took in mocking the romantic, in being unsentimental, matter-of-fact, stoic; yet at heart she was the oppo site: idealistic, dreamy, giving, and deeply attached to everything she liked verbally to dismiss as "mushy.