Pnin slowly walked under solemn pines. The sky was dying. He did not believe in an autocratic God. He did believe, dimly, in a democracy of ghosts. The souls of the dead, perhaps, formed committees, and these, in continuous session, attended the destinies of the quick.

At eight, he had once told his mother that he wanted to paint air.

Our imagination flies -- we are its shadow on the earth.

After the first shock of recognition - a sudden sense of "this is what I'm going to write" - the novel starts to breed by itself; the process goes on solely in the mind, not on paper. I feel a kind of gentle development, an uncurling inside, and I know that the details are there already, that in fact I would see them plainly if I looked closer, but I prefer to wait until what is loosely called inspiration has completed the task for me.

...and the red sun of desire and decision (the two things that create a live world) rose higher and higher, while upon a succession of balconies a succession of libertines, sparkling glass in hand, toasted the bliss of past and future nights.

Have you ever happened, reader, to feel that subtle sorrow of parting with an unloved abode? The heart does not break, as it does in parting with dear objects. The humid gaze does not wander around holding back a tear, as if it wished to carry away in it a trembling reflection of the abandoned spot; but in the best corner of our hearts we feel pity for the things which we did not bring to life with our breath, which we hardly noticed and are now leaving forever. This already dead iventory will not be resurrected in one's memory.

A creative writer must study carefully the works of his rivals, including the Almighty. He must possess the inborn capacity not only of recombining but of re-creating the given world. In order to do this adequately, avoiding duplication of labor, the artist should know the given world.