We must act out passion before we can feel it.
He loves me, he doesn't love my bowels, if they showed him my appendix in a glass he wouldn't recognize it, he's always feeling me, but if they put the glass in his hands he wouldn't touch it, he wouldn't think, "that's hers," you ought to love all of somebody, the esophagus, the liver, the intestines. Maybe we don't love them because we aren't used to them, but if we saw them the way we saw our hands and arms maybe we'd love them; the starfish must love each other better than we do.
I enjoy feeling fastidious and aloof. I enjoy saying no, always no, and I should be afraid of any attempt to construct a finally habitable world, because I should merely have to say - Yes; and act like other people.
I am beginning to believe that nothing can ever be proved. These are honest hypotheses which take the facts into account: but I sense so definitely that they come from me, and that they are simply a way of unifying my own knowledge. Not a glimmer comes from Rollebon's side. Slow, lazy, sulky, the facts adapt themselves to the rigour of the order I wish to give them; but it remains outside of them. I have the feeling of doing a work of pure imagination.
As long as the writer cannot write for the two billion men who are hungry, he will be oppressed by a feeling of malaise.
One of the chief motives of artistic creation is certainly the need of feeling that we are essential in relationship to the world.
As for the square at Meknes, where I used to go every day, it's even simpler: I do not see it at all anymore. All that remains is the vague feeling that it was charming, and these five words that are indivisibly bound together: a charming square at Meknes. ... I don't see anything any more: I can search the past in vain, I can only find these scraps of images and I am not sure what they represent, whether they are memories or just fiction.
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