The first thing a proprietor learns, and painfully at that, is: Trust is fine, but control is better.

Love points the way. Desire is its ignorant advisor.

Characters on stage should be flat, like clothes in a fashion show: what you get should be no more than what you see. Psychological realism is repulsive, because it allows us to escape unpalatable reality by taking shelter in the “luxuriousness” of personality, losing ourselves in the depth of individual character. The writer's task is to block this manoeuvre, to chase us off to a point from which we can view the horror with a dispassionate eye.

Anna despises two classes of people: first, those who own their own homes and have cars and families, and second, everybody else. Constantly she is on the verge of exploding. With rage. A pool of pure red. The pool is filled with speechlessness that talks away at her nonstop.

I have the feeling it will influence my future writing to the extent that without any material worries I could develop a greater ease, even lightheartedness, in my writing

He lies like a book. And he reads a lot of books.

Vice is basically the love of failure.