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“Not all possibilities are open to us. The world is finite; our hopes spill over its rim.”
― Salman Rushdie, The Satanic Verses

“To be born again,' sang Gibreal Farishta tumbling from the heaveans, 'first you have to die. Ho ji! Ho ji! To land upon the bosomy earth, first one needs to fly Tat-taa! Takatun! How to ever smile again, if first you won't cry? How to win the darling's love mister, without a sigh?”
― Salman Rushdie, The Satanic Verses

“William the Conqueror, it is said, began by eating a mouthful of English sand.”
― Salman Rushdie, The Satanic Verses

“A point, like a joke, is a terrible thing to miss.”
― Christopher Hitchens, Arguably: Selected Essays

“Skaz is a rather appealing Russian word (suggesting "jazz" and "scat", as in "scat-singing", to the English ear) used to designate a type of first-person narration that has the characteristics of the spoken rather than the written word.”
― David Lodge, The Art of Fiction

“J. D. Salinger's Holden Caulfield is a literary descendant of Huck Finn: more educated and sophisticated, the son of affluent New Yorkers, but like Huck a youthful runaway from a world of adult hypocrisy, venality and, to use one of his own favourite words, phoniness. What particularly appals Holden is the eagerness of his peers to adopt that corrupt grownup behaviour.”
― David Lodge, The Art of Fiction

“It is, as I say, easy enough to describe Holden's style of narration; but more difficult to explain how it holds our attention and gives us pleasure for the length of a whole novel. For, make no mistake, it's the style that makes the book interesting. The story it tells is episodic, inconclusive and largely made up of trivial events. Yet the language is, by normal literary criteria, very impoverished. Salinger, the invisible ventriloquist who speaks to us through Holden, must say everything he has to say about life and death and ultimate values within the limitations of a seventeen-year-old New Yorker's argot, eschewing poetic metaphors, periodic cadences, fine writing of any kind.”
― David Lodge, The Art of Fiction

“The choice of the point(s) of view from which the story is told is arguably the most important single decision that the novelist has to make, for it fundamentally affects the way readers will respond, emotionally and morally, to the fictional characters and their actions. The story of an adultery, for instance - any adultery - will affect us differently according to whether it is presented primarily from the point of view of the unfaithful person, or the injured spouse, or the lover - or as observed by some fourth party. Madame Bovary narrated mainly from the point of view of Charles Bovary would be a very different book from the one we know.”
― David Lodge, The Art of Fiction

“What do we mean - it is a common term of praise - when we say that a book is "original"? Not, usually, that the writer has invented something without precedent, but that she has made us "perceive" what we already, in a conceptual sense, "know", by deviating from the conventional, habitual ways of representing reality. Defamiliarization, in short, is another word for "originality". I shall have recourse to it again in these glances at the art of fiction.”
― David Lodge, The Art of Fiction

“The golden rule of fictional prose is that there are no rules - except the ones that each writer sets for him or herself. Repetition and simplicity worked (usually) for Hemingway's artistic purposes. Variation and decoration worked for Nabokov's, especially in Lolita. This novel takes the form of a brilliant piece of special pleading by a man whose attraction to a certain type of pubescent girl, whom he calls a "nymphet", leads him to commit evil deeds. The book aroused controversy on its first publication, and still disturbs, because it gives a seductive eloquence to a child-abuser and murderer. As Humbert Humbert himself says, "You can always count on a murderer for a fancy prose style.”
― David Lodge, The Art of Fiction

“In fiction, especially in texts that are framed by a storytelling situation, aporia is a favourite device of narrators to arouse curiosity in their audience, or to emphasize the extraordinary nature of the story they are telling. It is often combined with another figure of rhetoric, "aposiopesis", the incomplete sentence or unfinished utterance, usually indicated on the page by a trail of dots...”
― David Lodge, The Art of Fiction

“Shame on the man who goes to his grave escorted by the miserable hopes that have kept him alive.”
― Emil Cioran

“We are born to Exist, not to know, to be, not to assert ourselves.”
― Emil Cioran

“We have convictions only if we have studied nothing thoroughly.”
― Emil Cioran

“L'Occident : une pourriture qui sent bon, un cadavre parfumé.”
― Emile M. Cioran

“Personal imi dau demisia din omenire.”
― Emil Cioran, On the Heights of Despair

“Tout Occidental tourmenté fait penser à un héros dostoïevskien qui aurait un compte en banque.”
― Emil Cioran

“People are like lice - they get under your skin and bury themselves there. You scratch and scratch until the blood comes, but you can't get permanently deloused. ”
― Henry Miller, Tropic of Cancer

“I'm a bit retarded, like most Americans.”
― Henry Miller, Tropic of Cancer

“...the monstrous thing is not that men have created roses out of this dung heap, but that, for some reason or other, they should want roses. For some reason or other man looks for the miracle, and to accomplish it he will wade through blood. He will debauch himself with ideas, he will reduce himself to a shadow if for only one second of his life he can close his eyes to the hideousness of reality. Everything is endured- disgrace, humiliation, poverty, war, crime, ennui- in the belief that overnight something will occur, a miracle, which will render life tolerable. And all the while a meter is running inside and there is no hand that can reach in there and shut it off.”
― Henry Miller, Tropic of Cancer

“Well, I'll take these pages and move on. Things are happening elsewhere. Things are always happening. It seems wherever I go there is drama. People are like lice - they get under your skin and bury themselves there. You scratch and scratch until the blood comes, but you can't get permanently deloused. Everywhere I go people are making a mess of their lives. Everyone has his private tragedy. It's in the blood now - misfortune, ennui, grief, suicide. The atmosphere is saturated with disaster, frustration, futility. Scratch and scratch, until there's no skin left. However, the effect upon me is exhilarating. Instead of being discouraged or depressed, I enjoy it. I am crying for more and more disasters, for bigger calamities, grander failures. I want the whole world to be out of whack, I want every one to scratch himself to death.”
― Henry Miller, Tropic of Cancer

“This is not a book in the ordinary sense of the word. No, this is a prolonged insult, a gob of spit in the face of art, a kick in the pants to God, Man, Destiny, Time, Love, Beauty... what you will. ”
― Henry Miller, Tropic of Cancer

“Paris is like a whore. From a distance she seems ravishing, you can't wait until you have her in your arms. And five minutes later you feel empty, disgusted with yourself. You feel tricked.”
― Henry Miller, Tropic of Cancer

“As far as history goes I am dead. If there is something beyond I shall have to bounce back. I have found God, but he is insufficient. I am only spiritually dead. Physically I am alive. Morally I am free. The world which I have departed is a menagerie. The dawn is breaking on a new world, a jungle world in which lean spirits roam with sharp claws. If a am a hyena I am a lean and hungry one: I go forth to fatten myself.”
― Henry Miller, Tropic of Cancer

“There are people in this world who cut such a grotesque figure that even death renders them ridiculous. And the more horrible the death the more ridiculous they seem. It's no use trying to invest the end with a little dignity â€� you have to be a liar and a hypocrite to discover anything tragic in their going.”
― Henry Miller, Tropic of Cancer

“No matter where you go, no matter what you touch, there is cancer and syphilis. It is written in the sky; it flames and dances, like an evil portent. It has eaten into our souls and we are nothing but a dead thing like the moon.”
― Henry Miller, Tropic of Cancer

“When I look down into this fucked out cunt of a whore I feel the whole world beneath me, a world tottering and crumbling, a world used up and polished like a leper's skull.”
― Henry Miller, Tropic of Cancer

“Lost opportunities, lost possibilities, feelings we can never get back. That's part of what it means to be alive. But inside our heads - at least that's where I imagine it - there's a little room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in awhile, let in fresh air, change the water in the flower vases. In other words, you'll live forever in your own private library.”
― Haruki Murakami, Kafka on the Shore

“The pure present is an ungraspable advance of the past devouring the future. In truth, all sensation is already memory.”
― Henri Bergson, Matter and Memory

“It's hard to tell the difference between sea and sky, between voyager and sea. Between reality and the workings of the heart.”
― Haruki Murakami, Kafka on the Shore