Each civilization may choose one of two roads to travel, that is, either fret itself to death, or pet itself to death. And in the course of doing one or the other, it eats its way into the Universe, turning cinders and flinders of stars into toilet seats, pegs, gears, cigarette holders and pillowcases, and it does this because, unable to fathom the Universe, it seeks to change that Fathomlessness into Something Fathomable.

The age-old faith of lovers and poets in the power of love, stronger than death, that Finis vitae sed non amoris, is a lie, useless and not even funny.

The horse respects and obeys man because its large eyes magnify everything, so man appears much larger than the horse itself.

Nothing, my dear and clever colleague, is not your run-of-the-mill nothing, the result of idleness and inactivity, but dynamic, aggressive Nothingness, that is to say, perfect, unique, ubiquitous, in other words Nonexistence, ultimate and supreme.

So one must be resigned to being a clock that measures the passage of time, now out of order, now repaired, and whose mechanism generates despair and love as soon as its maker sets it going? Are we to grow used to the idea that every man relives ancient torments, which are all the more profound because they grow comic with repetition? That human existence should repeat itself, well and good, but that it should repeat itself like a hackneyed tune, or a record a drunkard keeps playing as he feeds coins into the jukebox.

My pessimism (which, by the way, is far from absolute) originated with my despair in the lack of perfection to be found in human nature. I was attempting in my successive books to show the inevitable handicap of the human condition.

Good books tell the truth, even when they're about things that never have been and never will be. They're truthful in a different way