The words that reverberate for us at the confines of this long adventure of rebellion are not formulas for optimism, for which we have no possible use in the extremities of our unhappiness, but words of courage and intelligence which, on the shores of the eternal seas, even have the qualities of virtue.

For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a 'fiancé,' why she had played at beginning again. Even there, in that home where lives were fading out, evening was a kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too.

One must place one's principles in big things. For the small, graciousness will suffice.

Does the end justify the means? That is possible. But what will justify the end? To that question, which historical thought leaves pending, rebellion replies: the means.

In that daily effort in which intelligence and passion mingle and delight each other, the absurd man discovers a discipline that will make up the greatest of his strengths. The required diligence and doggedness and lucidity thus resemble the conqueror's attitude. To create is likewise to give a shape to one's fate. For all these characters, their work defines them at least as much as it is defined by them. The actor taught us this: There is no frontier between being and appearing.

The certainty of a God giving meaning to life far surpasses in attractiveness the ability to behave badly with impunity. The choice would not be hard to make. But there is no choice and that is where the bitterness comes in. The absurd does not liberate; it binds.

True artists scorn nothing.