Life itself today has lost its plane reality: it is projected, not along the old fixed points, but along the dynamic coordinates of Einstein, of revolution. In this new projection, the best-known formulas and objects become displaced, fantastic, familiar-unfamiliar. This is why it is so logical for literature today to be drawn to the fantastic plot, or to an amalgam of reality and fantasy.

The microspeed of the tongue ought to be always slightly less than the microspeed of the thoughts and certainly not ever the reverse.

The knife is the most permanent, the most immortal, the most ingenious of man's creations. The knife was a guillotine; the knife is a universal means of resolving all knots.

There are two generic and invariable features that characterize utopias. One is the content: the authors of utopias paint what they consider to be ideal societies; translating this into the language of mathematics, we might say that utopias bear a + sign. The other feature, organically growing out of the content, is to be found in the form: a utopia is always static; it is always descriptive and has no, of almost no, plot dynamics.

What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturabtion … whereas creative art is more like intercourse, in which the artist must seduce -- render emotional -- his audience, each time.

Knowledge, absolutely sure of its infallibility, is faith.

The next stage of development, perhaps in the distant future, will be a social order under which there will be no need for the coercive power of the state.