"I don’t search for exactitude in portraying people. I try to give to imaginary people a kind of veracity. It would bore me to death to put into my novels the people I know. It seems to me that there are two kinds of trickery: the “fronts” people assume before one another’s eyes, and the “front” a writer puts on the face of reality."

“Could you love a woman you didn't respect? Could you worship someone without believeing in her? Could you be madly in love with a woman you didn't admire? Well, you could. Not only that, it might be better that way. Easier. It took Paul almost forty years to learn that carnal platitude. Nevertheless, he always took Sonia to dinners where, sooner or later, her stupidity would explode, with the result that brighter souls would inevitably pick up on it right away and cast a sympathetic, albeit ironical, look in his direction, which only excited him all the more.”

“Of course the illusion of art is to make one believe that great literature is very close to life, but exactly the opposite is true. Life is amorphous, literature is formal.”

“In love, as in finance, only the rich can get credit.”

“When a man has dreamed of winning something by a colossal stroke of luck, he is prone to neglect petty but more practical ways of attaining it.”

“Desire, even the basest, kind, required the notion of futurity if it was ever to come off. A man without a future, a dying man, was no longer desirable. And however stupid such a reaction might have seemed, Paul knew that if the situation was ever reversed, he would feel the same way about the woman. Desire would have turned into compassion. Which is tantamount to saying that desire would vanish into thin air.”

“For me writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.”