For a novelist, a given historic situation is an anthropologic laboratory in which he explores his basic question: What is human existence? - Milan Kundera

The girl was grateful to the young man for every bit of flattery; she wanted to linger for a moment in its warmth and so she said, 'You're very good at lying.'

'Do I look like a liar?'

'You look like you enjoy lying to women,' said the girl, and into her words there crept unawares a touch of the old anxiety, because she really did believe that her young man enjoyed lying to women.

Is goodwill so fragile, so precarious a thing, then? (Of course, dear fellow, of course)

"As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about. But isn't it true that an author can write only about himself? Staring impotently across a courtyard, at a loss for what to do; hearing the pertinacious rumbling of one's own stomach during a moment of love; betraying, yet lacking the will to abandon the glamorous path of betrayal; raising one's fist with the crowds in the Grand March; displaying one's wit before hidden microphones — I have known all these situations, I have experienced them myself, yet none of them has given rise to the person my curriculum vitae and I represent. The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own "I" ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author's confession; it is an investigation of human life in the trap the world has become."