(...) the woman we love ought to swim as slowly as we do, she ought to have no past of her own to look back on happily. But when the illusion of abso… - Milan Kundera

"Let us define our terms. A woman who writes her lover four letters a day is not a graphomaniac, she is simply a woman in love. But my friend who xeroxes his love letters so he can publish them someday — my friend is a graphomaniac. Graphomania is not a desire to write letters, diaries, or family chronicles (to write for oneself or one's immediate family); it is a desire to write books (to have a public of unknown readers). In this sense the taxi driver and Goethe share the same passion. What distinguishes Goethe from the taxi driver is the result of the passion, not the passion itself.

"Graphomania (an obsession with writing books) takes on the proportions of a mass epidemic whenever a society develops to the point where it can provide three basic conditions:

1. a high degree of general well-being to enable people to devote their energies to useless activities;
2. an advanced state of social atomization and the resultant general feeling of the isolation of the individual;
3. a radical absence of significant social change in the internal development of the nation. (In this connection I find it symptomatic that in France, a country where nothing really happens, the percentage of writers is twenty-one times higher than in Israel. Bibi [character from the book] was absolutely right when she claimed never to have experienced anything from the outside. It is this absence of content, this void, that powers the moter driving her to write).

"But the effect transmits a kind of flashback to the cause. If general isolation causes graphomania, mass graphomania itself reinforces and aggravates the feeling of general isolation. The invention of printing originally promoted mutual understanding. In the era of graphomania the writing of books has the opposite effect: everyone surrounds himself with his own writings as with a wall of mirrors cutting off all voices from without."

Колкото по-голямо бреме тегне върху нашия живот, толкова по-близо е той до земята, толкова по-истински и правдив е.
И обратното: абсолютната липса на бреме прави човека по-лек от въздуха, той литва нагоре, откъсва се от земята, от земното битие, става полуреален и движенията му са колкото свободни, толкова и лишени от смисъл.

I invent stories, confront one with another, and by this means I ask questions. The stupidity of people comes from having an answer to everything. The wisdom of the novel comes from having a question for everything.