A novelist is, like all mortals, more fully at home on the surface of the present than in the ooze of the past.

There was a time in my demented youth When somehow I suspected that the truth About survival after death was known To every human being: I alone Knew nothing, and a great conspiracy Of books and people hid the truth from me.

Whenever I start thinking of my love for a person, I am in the habit of immediately drawing radii from my love - from my heart, from the tender nucleus of a personal matter- to monstrously remote points of the universe. Something impels me to measure the consciousness of my love against such unimaginable and incalculable things as the behaviour of nebulae (whose very remoteness seems a form of insanity), the dreadful pitfalls of eternity, the unknowledgeable beyond the unknown, the helplessness, the cold, the sickening involutions and interpenetrations of space and time.

To play safe, I prefer to accept only one type of power: the power of art over trash, the triumph of magic over the brute.

Was she really beautiful? Was she at least what they call attractive? She was exasperation, she was torture.

I looked and looked at her, and I knew, as clearly as I know that I will die, that I loved her more than anything I had ever seen or imagined on earth. She was only the dead-leaf echo of the nymphet from long ago - but I loved her, this Lolita, pale and polluted and big with another man's child. She could fade and wither - I didn't care. I would still go mad with tenderness at the mere sight of her face.

It is strange that the tactile sense, which is so infinitely less precious to men than sight, becomes at critical moments our main, if not only, handle to reality.