But as Van casually directed the searchlight of backthought into that maze of the past where the mirror-lined narrow paths not only took different turns, but used different levels (as a mule-drawn cart passes under the arch of a viaduct along which a motor skims by), he found himself tackling, in still vague and idle fashion, the science that was to obsess his mature years - problems of space and time, space versus time, time-twisted space, space as time, time as space - and space breaking away from time, in the final tragic triumph of human cogitation: I am because I die.

Suddenly for no earthly reason I felt immensely sorry for him and longed to say something real, something with wings and a heart, but the birds I wanted settled on my shoulders and head only later when I was alone and not in need of words.

I adore you, mon petit, and would never allow him to hurt you, no matter how gently or madly.

Devices which in some curious new way imitate nature are attractive to simple minds.

My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses–the baffling mirror, the black velvet backdrop, the implied associations and traditions–which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way.

Non-Russian readers do not realize two things: that not all Russians love Dostoievsky as much as Americans do, and that most of those Russians who do, venerate him as a mystic and not as an artist.

Some people, and I am one of them, hate happy ends. We feel cheated. Harm is the norm.