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" "From the amorous point of view Véronique belonged, as we all do, to a sacrificed generation. She had certainly been capable of love; she wished to still be capable it, I'll say that for her; but it was no longer possible. A scarce, artificial and belated phenomenon, love can only blossom under certain mental conditions, rarely conjoined, and totally opposed to the freedom of morals which characterizes the modern era. Véronique had known too many discothèques, too many lovers; such a way of life impoverishes a human being, inflicting sometimes serious and always irreversible damage. Love as a kind of innocence and as a capacity for illusion, as an aptitude for epitomizing the whole of the other sex in a single loved being rarely resists a year of sexual immorality, and never two. In reality the successive sexual experiences accumulated during adolescence undermine and rapidly destroy all possibility of projection of an emotional and romantic sort; progressively, and in fact extremely quickly, one becomes as capable of love as an old slag. And so one leads, obviously, a slag's life; in ageing one becomes less seductive, and on that account bitter. One is jealous of the younger, and so one hates them. Condemned to remain unvowable, this hatred festers and becomes increasingly fervent; then it dies down and fades away, just as everything fades away. All that remains is resentment and disgust, sickness and the anticipation of death.
Michel Houellebecq (born 26 February 1956), also known by his real name Michel Thomas, is a French author, filmmaker, and poet. His novels The Elementary Particles, Platform, and Submission have earned him an international reputation as a sulphurous provocateur, and are also seen as setting a new tone in French literature.
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On my return I sensed that something new was in the offing. A girl was sitting at the table next to mine, alone. She was much younger than Véronique, she might have been seventeen; that aside, she horribly resembled her. Her extremely simple, rather ample dress of beige did not really show off the contours of her body; they scarcely had need of it. The wide hips, the firm and smooth buttocks; the suppleness of the waist which leads the hands up to a pair of round, ample and soft breasts; the hands which rest confidently on the waist, espousing the noble rotundity of the hips. I knew it all; all I had to do was close my eyes to remember. Up to the face, full and candid, expressing the calm seduction of the natural woman, confident of her beauty. [...]
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J'ai été très choqué qu'on appelle ça une théorie. Ce n'est pas une théorie, c'est un fait.