My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying . . . one must ruthlessly suppress everything that is not concerned with the subject. If, in the first chapter, you say there is a gun hanging on the wall, you should make quite sure that it is going to be used further on in the story.
I should like to meet a philosopher like Nietzsche somewhere in a train or a steamer, and to spend the whole night talking to him. I consider his philosophy won't last long, however. It's more showy than convincing.
In Western Europe people perish from the congestion and stifling closeness, but with us it is from the spaciousness.... The expanses are so great that the little man hasn't the resources to orient himself.... This is what I think about Russian suicides.
While you're playing cards with a regular guy or having a bite to eat with him, he seems a peaceable, good-humoured and not entirely dense person. But just begin a conversation with him about something inedible, politics or science, for instance, and he ends up in a deadend or starts in on such an obtuse and base philosophy that you can only wave your hand and leave.
If there's a gun on the wall in act one, scene one, you must fire the gun by act three, scene two. If you fire a gun in act three, scene two, you must see the gun on the wall in act one, scene one.
Happiness does not await us all. One needn't be a prophet to say that there will be more grief and pain than serenity and money. That is why we must hang on to one another.
When you're thirsty and it seems that you could drink the entire ocean that's faith; when you start to drink and finish only a glass or two that's science.