"For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere connected with other states of being (curiosity, tenderness, kindness, ecstacy) is the norm."
"Either over neither, both over either/or, live-and-let-live over stand-or die, high spirits over low, energy over apathy, wit over dullness, jokes over homilies, good humor over jokes, good nature over bad, feeling over sentiment, truth over poetry, consciousness over explanations, tragedy over pathos, comedy over tragedy, entertainment over art, private over public, generosity over meanness, charity over murder, love over charity, irreplaceable over interchangeable, divergence over concurrence, principle over interest, people over principle."
"Pushkin's composition is first of all and above all a phenomenon of style, and it is from this flowered rim that I have surveyed its seep of Arcadian country, the serpentine gleam of its imported brooks, the miniature blizzards imprisoned in round crystal, and the many-hued levels of literary parody blending in the melting distance."
"The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don't know--Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel--the quality of philosophy."
"And so she knelt in front of a bookcase, in driving need of the right arrangement of words; for it is a remarkable fact that she was left unmoved by criticisms of the sort of person she was by parents, relations, preachers, teachers, politicians and the people who write for the newspapers; whereas an unsympathetic description of a character similar to her own in a novel would send her into a condition of anxious soul-searching for days. Which suggests that it is of no use for artists to insist, with such nervous disinclination for responsibility, that their productions are only "a divine play" or "a reflection from the creative fires of irony," etc., etc., while the Marthas of this world read and search with the craving thought, What does this say about my life?"
"The true novel wrestles on the edge of understanding, lying about on all sides desperately, for every sort of experience, pressing into use every flash of intuition or correspondence, trying to fuse together the crudest of materials, and the humblest, which the higher arts can't include. But it is precisely here, where the writer fights with the raw, the intractable, that poetry is born. Poetry, that is, of the novel: appropriate to it. The Story of an African Farm is a poetic novel; and when one has done with the "plot" and the characters, that is what remains: an endeavor, a kind of hunger, that passionate desire for growth and understanding, which is the deepest pulse of human beings."
"Now I must write personally; but I would not, if I didn't know that nothing we can say about ourselves is personal. I read the novel when I was fourteen or so; understanding very well the isolation described in it; responding to her sense of Africa the magnificent--mine, and everyone's who knows Africa; realizing that this was one of the few rare books. For it is in that small number of novels, with Moby Dick, Jude the Obscure, Wuthering Heights, perhaps one or two others, which is on a frontier of the human mind."