In Irena’s head the alcohol plays a double role: it frees her fantasy, encourages her boldness, makes her sensual, and at the same time it dims her memory. She makes love wildly, lasciviously, and at the same time the curtain of oblivion wraps her lewdness in an all-concealing darkness. As if a poet were writing his greatest poem with ink that instantly disappears.

Remembering now all those farewells (fake farewells, worked-up farewells), Irena thinks: a person who messes up her goodbyes shouldn’t expect much from her re-unions.

Children are the future, because mankind is moving more and more towards infancy.

The longing for order is at the same time a longing for death, because life is an incessant disruption of order.

The novel is a territory where one does not make assertions; it is a territory of play and of hypotheses.

Because beyond their practical function, all gestures have a meaning that exceeds the intention of those who make them; when people in bathing suits fling themselves into the water, it is joy itself that shows in the gesture, notwithstanding any sadness the divers may actually feel. When someone jumps into the water fully clothed, it is another thing entirely: the only person who jumps into the water fully clothed is a person trying to drown; and a person trying to drown does not dive headfirst; he lets himself fall: thus speaks the immemorial language of gestures.

She is sadder and sadder, and for a man there is no balm more soothing than the sadness he has caused a woman.