She represents the un-vowed aspiration of the male human being, his potential infidelity - and infidelity of a very special kind, which would lead him to the opposite of his wife, to the woman of wax whom he could model at will, make and unmake in any way he wished, even unto death.

We’re in the vanguard of a nameless battle, a battle without arms or bloodshed or glory: we’re in the vanguard of waiting.

It has been my face. It's got older still, or course, but less, comparatively, than it would otherwise have done. It's scored with deep, dry wrinkles, the skin is cracked. But my face hasn't collapsed, as some with fine feature have done. It's kept the same contours, but its substance has been laid waste. I have a face laid waste.

I seldom read on beaches or in gardens. You can't read by two lights at once, the light of day and the light of the book. You should read by electric light, the room in shadow, and only the page lit up.

Finding yourself in a hole, at the bottom of a hole, in almost total solitude, and discovering that only writing can save you. To be without the slightest subject for a book, the slightest idea for a book, is to find yourself, once again, before a book. A vast emptiness. A possible book. Before nothing. Before something like living, naked writing, like something terrible, terrible to overcome.

You alone became the outer surface of my life, the side I never see, and you will be that, the unknown part of me, until I die.

A woman's work, from the time she gets up to the time she goes to bed, is as hard as a day at war, worse than a man's working day. ... To men, women's work was like the rain-bringing clouds, or the rain itself. The task involved was carried out every day as regularly as sleep. So men were happy - men in the Middle Ages, men at the time of the Revolution, and men in 1986: everything in the garden was lovely.