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.

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.

And she was mine, she was mine, the key was in my fist, my fist was in my pocket, she was mine.

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.

Old birds like Orlovius are wonderfully easy to lead by the beak, because a combination of decency and sentimentality is exactly equal to being a fool.

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.

I loved you. I was a pentapod monster, but I loved you. I was despicable and brutal, and turpid, and everything, mais je t’aimais, je t’aimais!