“I don’t think they [contemporary writers] read me either. I mean, if we’re concerned genuinely with writing, I think we probably get on with our work.”

There is, they say, no fool like an old fool.

Maybe there is a beast… maybe it’s only us.

There were no words, and no movements but the tearing of teeth and claws.

His mind was crowded with memories; memories of the knowledge that had come to them when they closed in on the struggling pig, knowledge that they had outwitted a living thing, imposed their will upon it, taken away its life like a long satisfying drink.

Life should serve up its feast of experience in a series of courses.

It may be — I hope it is — redemption to guess and perhaps perceive that the universe, the hell which we see for all its beauty, vastness, majesty, is only part of a whole which is quite unimaginable.

This is our island. It’s a good island. Until the grownups come to fetch us we’ll have fun.

The beast was harmless and horrible; and the news must reach the others as soon as possible.

And I’ve been wearing specs since I was three.

He who rides the sea of the Nile must have sails woven of patience.

I began to see what people were capable of doing. Anyone who moved through those years without understanding that man produces evil as a bee produces honey, must have been blind or wrong in the head.

Simon became inarticulate in his effort to express mankind’s essential illness.

One tries to tell a truth, and one hopes that the truth has a general application rather than just a specific one.

Sleep is when all the unsorted stuff comes flying out as from a dustbin upset in a high wind.

Kill the pig! Cut his throat! Kill the pig! Bash him in!

What are we? Humans? Or animals? Or savages?

I read very little contemporary anything.

Disneyworld… is a historical reconstruction as sanitised as the Kremlin’s, and a future vision as uncognisant of contemporary pointers as Peter Pan’s.

This so-called contemporary art is not a form, but a philosophy of society.

In China, we don’t have any contemporary art museums. Until a few years ago, we didn’t even have a gallery.

The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.

When I saw what painting had done in the last thirty years, what literature had done – people like Joyce and Virginia Woolf, Faulkner and Hemingway – in France we have Nathalie Sarraute – and paintings became so strongly contemporary while cinema was just following the path of theater.

A brilliant inquiry into the contemporary Iranian predicament and what it means for the world.

Part of what attracted me to the village was it had a lot of parallels to contemporary issues.