Style is a simple way of saying complicated things.

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I would like to be able to convey to you the sound of dead voices, to break open this unbearable tomb of sound, to wrest something more than silhouettes from vanished years and by some unimaginable trick let you hear the ha-ha-ha with which Catulle Mendès accompanied the slightest sentence, the muffled voice of Edmond Rostand or the laughter which Proust smeared over his face with his white-gloved hand and his beard.

We only serve as a model to the portrait of our fame

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It is excruciating to be an unbeliever with a spirit that is deeply religious.

Last month, coming out of the Rue d'Athènes, where they were showing Le Sang d'un Poète, I told Gide that I couldn't bear to see the film again because each shot is so slow. He replied that I was wrong, that this slowness was a rhythm, and that these slow shots coming one after another formed a special tempo, my tempo, a procedure of my own.
No doubt he's right, and it would be dangerous to upset a rhythm that comes from within oneself, through fear of this rhythm, and to impose another, artificial, one which would not suit it.

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Art is a marriage of the conscious and the unconscious.

We must believe in luck. For how else can we explain the success of those we don't like?

Last night I suffered so much that there was nothing but my pain to distract me from my pain. I had to make it my sole diversion and with good reason. It had thus decreed. It attacked at every point. Then it distributed its troops. It encamped. It so manoeuvred that it was no longer intolerable at any one of its positions, but tolerable at them all. That is to say that the intolerable being distributed, it was this no longer, except as a whole. It was something both tolerable and intolerable. The organ that breaks down and the final chord that goes on for ever.