To the end, I will remain a child of Europe, of worry and of shame. I have no message of hope to deliver. For the West, I do not feel hatred. At most I feel a great contempt. I know only that every single one of us reeks of selfishness, masochism and death. We have created a system in which it has simply become impossible to live, and what's more, we continue to export it.

When a country is strong... it accepts any dose of pessimism from its writers.

This progressive effacement of human relationships is not without certain problems for the novel. How, in point of fact, would one handle the narration of those unbridled passions, stretching over many years, and at times making their effect felt on several generations? We’re a long way from Wuthering Heights, to say the least. The novel form is not conceived for depicting indifference or nothingness; a flatter, more terse, and dreary discourse would need to be invented.

As a teenager, Michel believed that suffering conferred dignity on a person. Now he had to admit that he had been wrong. What conferred dignity on people was television.

Without beauty a girl is unhappy because she has missed her chance to be loved. People do not jeer at her, they are not cruel to her, but it is as if she were invisible, no eyes follow her as she walks. People feel uncomfortable when they are with her. They find it easier to ignore her. A girl who is exceptionally beautiful, on the other hand, who has something which too far surpasses the customary seductive freshness of adolescence, appears somehow unreal. Great beauty seems invariably to portend some tragic fate.

My novels are all ideas.

If life is an illusion it's a pretty painful one.