What we call the present is given shape by an accumulation of the past.
The novel wins by points, the short story by knockout.
I have never described this to you before, not so much, I don't think, from lack of truthfulness as that, just naturally, one is not going to explain to people at large that from time to time one vomits up a small rabbit.
You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.
Salt and the center of the world have to be there, in that spot on the tablecloth.
The short-story writer knows that he can't proceed cumulatively, that time is not his ally. His only solution is to work vertically, heading up or down in literary space.
Why have we had to invent Eden, to live submerged in the nostalgia of a lost paradise, to make up utopias, propose a future for ourselves?
Life on a small farm might seem primitive, but by living such a life we become able to discover the Great Path. I believe that one who deeply respects his neighborhood and everyday world in which he lives will be shown the greatest of all worlds.
When you're curious, you find lots of interesting things to do.
It is not necessary to do extraordinary things to get extraordinary results.
Let the audience put 2 and 2 together so that it comes up with 4. Let them do that themselves, and they'll love you forever.