A human being is capable of taking in very few things at one time; we see only what is happening in front of us, here and now. Visualizing a simultaneous multiplicity of processes, however they may be interconnected, however they may complement one another, is beyond us. We experience this even with relatively simple phenomena. The fate of a single person can mean many things, the fate of several hundred is hard to encompass; but the history of thousands, millions, means essentially nothing at all.

Every stink that fights the ventilator thinks it is Don Quixote.

What would happen to us if we could truly sympathize with others, feel with them, suffer for them? The fact that human anguish, fear, and suffering melt away with the death of the individual, that nothing remains of the ascents, the declines, the orgasms, and the agonies, is a praiseworthy gift of evolution, which made us like the animals. If from every unfortunate, from every victim, there remained even a single atom of his feelings, if thus grew the inheritance of the generations, if even a spark could pass from man to man, the world would be full of raw, bowel-torn howling.

I had no hope. Yet expectation lived on in me, the last thing she had left behind. What further consummations, mockeries, torments did I still anticipate? I had no idea as I abided in the unshaken belief that the time of cruel wonders was not yet over.

Take a good look at this world, how riddled it is with huge, gaping holes, how full of Nothingness, the Nothingness that fills the bottomless void between the stars, how everything about us has become lined with it, how it darkly lurks behind each shred of matter. This is your work, envious one! And I hardly think the future generations will bless you for it...

Solaristics, wrote Muntius, is a substitute for religion in the space age. It is faith wrapped in the cloak of science; contact, the goal for which we are striving, is as vague and obscure as communion with the saints or the coming of the Messiah.

Each civilization may choose one of two roads to travel, that is, either fret itself to death, or pet itself to death. And in the course of doing one or the other, it eats its way into the Universe, turning cinders and flinders of stars into toilet seats, pegs, gears, cigarette holders and pillowcases, and it does this because, unable to fathom the Universe, it seeks to change that Fathomlessness into Something Fathomable.

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We are only seeking Man. We have no need of other worlds. We need mirrors. We don't know what to do with other worlds. A single world, our own, suffices us; but we can't accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, of a civilisation superior to our own but developed on the basis of a prototype of our primeval past. At the same time, there is something inside us which we don't like to face up to, from which we try to protect ourselves, but which nevertheless remains, since we don't leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned and that reality is revealed to us — that part of our reality which we would prefer to pass over in silence — then we don't like it any more.

Physics, my friend, is a narrow path drawn across a gulf that the human imagination cannot grasp. It is a set of answers to certain questions that we put to the world, and the world supplies the answers on the condition that we will not then ask it other questions, questions shouted out by common sense. And common sense? It is that which is understood by an intelligence using senses no different from those of a baboon. Such an intelligence wishes to know the world in terms that apply to its terrestrial, biological niche. But the world — outside that niche, that incubator of sapient apes — has properties that one cannot take in hand, see, sniff, gnaw, listen to, and in this way appropriate.

I have fundamental reservations to this adaptation. First of all I would have liked to see the planet Solaris which the director unfortunately denied me as the film was to be a cinematically subdued work. And secondly — as I told Tarkovsky during one of our quarrels — he didn't make Solaris at all, he made Crime and Punishment. What we get in the film is only how this abominable Kelvin has driven poor Harey to suicide and then he has pangs of conscience which are amplified by her appearance; a strange and incomprehensible appearance. [...]