Living for Sabina meant seeing. Seeing is limited by two borders: strong light, which blinds, and total darkness. Perhaps that was what motivated Sabina's distaste for all extremism. Extremes mean borders beyond which life ends, and a passion for extremism, in art and in politics, is a veiled longing for death.

There is no means of testing which decision is better, because there is no basis for comparison. We live everything as it comes, without warning, like an actor going on cold. And what can life be worth if the first rehearsal for life is life itself? That is why life is always like a sketch. No, "sketch" is not quite a word, because a sketch is an outline of something, the groundwork for a picture, whereas the sketch that is our life is a sketch for nothing, an outline with no picture.

For the body is temporal and thought is eternal and the shimmering essence of flame is an image of thought.

This is the real and the only reason for friendship: to provide a mirror so the other person can contemplate his image from the past, which, without the eternal blah-blah of memories between pals, would long ago have disappeared.

No one can get really drunk on a novel or a painting, but who can help getting drunk on Reethoven's Ninth, Rartok's Sonata for Two Pianos and Percussion, or the Reatles' White Album?

For he was aware of the great secret of life: Women don't look for handsome men. Women look for men who have had beautiful women. Having an ugly mistress is therefore a fatal mistake.

I find myself fascinating.