The things of this world reveal their essential absurdity when they are put in the Venetian context. In the unreal realm of the canals, as in a Swiftian Lilliput, the real world, with its contrivances, appears as a vast folly.

most people did not care to be taught what they did not already know; it made them feel ignorant.

The furniture and trappings in the apartment are all in a state of flux - here today, gone tomorrow. Nothing is anchored to its place, not even the coffee-pot, which floats off and returns, on the tide of the signora's marine nature.

As subjects, we all live in suspense, from day to day, from hour to hour; in other words, we are the hero of our own story. We cannot believe that it is finished, that we are 'finished,' even though we may say so; we expect another chapter, another installment, tomorrow or next week.

If one means by style the voice, the irreducible and always recognizable and alive thing, then of course style is really everything.

All ideas advanced to deal with the Florentine noise problem, the Florentine traffic problem, are Utopian, and nobody believes in them, just as nobody believed in Machiavelli's Prince, a Utopian image of the ideally self-interested despot.

A novelist is an elephant, but an elephant who must pretend to forget.