The strange power of art is sometimes it can show that what people have in common is more urgent than what differentiates them. It seems to me it's something that theatre can do, but it's rare; it's very rare.

The heart of Paris is like nothing so much as the unending interior of a house. Buildings become furniture, courtyards become carpets and arrases, the streets are like galleries, the boulevards conservatories. It is a house, one or two centuries old, rich, bourgeois, distinguished. The only way of going out, or shutting the door behind you, is to leave the centre.

Emigration, forced or chosen, across national frontiers or from village to metropolis, is the quintessential experience of our time.

History always constitutes the relation between a present and its past. Consequently fear of the present leads to mystification of the past

Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object - and most particularly an object of vision: a sight.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls.

A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements are connected by an and not by a but.