We are now ready to tackle Dickens. We are now ready to embrace Dickens. We are now ready to bask in Dickens. In our dealings with Jane Austen we had… - Vladimir Nabokov

All we have to do when reading Bleak House is to relax and let our
spines take over. Although we read with our minds, the seat of
artistic delight is between the shoulder blades. That little shiver
behind is quite certainly the highest form of emotion that humanity
has attained when evolving pure art and pure science. Let us worship
the spine and its tingle.

But then I have long since grown accustomed to the thought that what we call dreams is semi-reality, the promise of reality, a foreglimpse and a whiff of it; that is they contain, in a very vague, diluted state, more genuine reality than our vaunted waking life which, in its turn, is semi-sleep, an evil drowsiness into which penetrate in grotesque disguise the sounds and sights of the real world, flowing beyond the periphery of the mind — as when you hear during sleep a dreadful insidious tale because a branch is scraping on the pane, or see yourself sinking into snow because your blanket is sliding off.

There, tam, la-bas, the gaze of men glows with inimitable understanding; there the freaks that are tortured here walk unmolested; there time takes shape according to one’s pleasure, like a figured rug whose folds can be gathered in such a way that two designs will meet — and the rug is once again smoothed out, and you live on, or else superimpose the next image on the last, endlessly, endlessly, with the leisurely concentration of a woman selecting a belt to go with her dress — now she glides in my direction, rhythmically butting the velvet with her knees, comprehending everything and comprehensible to me…There, there are the original of those gardens where we used to roam and hide in this world; there everything strikes one by its bewitching evidence, by the simplicity of perfect good; there everything pleases one’s soul, everything is filled with the kind of fun that children know; there shines the mirror that now and then sends a chance reflection here…

The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail.