Pierre Bayard Quotes

The title of the work, its place in the collective library, the nature of the person who tells us about it, the atmosphere established in the written or spoken exhange, among many other instances, offer alternatives to the book itself that allow us to talk about ourselves without dwelling upon the work too closely.

Criticism demands infinitely more culture than artistic creation.

if you want to be able to talk about a place, the best thing to do is stay at home.

Non-reading is not just the absence of reading. It is a genuine activity, one that consists of adopting a stance in relation to the immense tide of books that protects you from drowning. On that basis, it deserves to be defended and even taught.

Fictional characters exert a great deal of influence over our choices in love by representing inaccessible ideals to which we try to make others conform, usually without success. But more subtly, too, the books we love offer a sketch of a whole universe that we secretly inhabit, and in which we desire the other person to assume a role.

As may be seen, there is only one sensible piece of advice to give to those who find themselves having to talk to an author about one of his books without having read it: praise it without going into detail. An author does not expect a summary or a rational analysis of his book and would even prefer you not to attempt such a thing. He expects only that, while maintaining the greatest possible degree of ambiguity, you will tell him you like what he wrote.

When we talk about books ... we are talking about our approximate recollections of books ... What we preserve of the books we read - whether we take notes or not, and even if we sincerely believe we remember them faithfully - is in truth no more than a few fragments afloat, like so many islands, on an ocean of oblivion ... We do not retain in memory complete books identical to the books remembered by everyone else, but rather fragments surviving from partial readings, frequently fused together and further recast by our private fantasies. ... What we take to be the books we have read is in fact an anomalous accumulation of fragments of texts, reworked by our imagination and unrelated to the books of others, even if these books are materially identical to ones we have held in our hands.

What we are able to say about our intimate relation with a book will have more force if we have not thought about it excessively. Instead, we need only let our unconscious express itself within us and give voice, in this privileged moment of openness in language, to the secret ties that bind us to the book, and therefore to ourselves.

It is only by maintaining a reasonable distance from the book that we may be able to appreciate its true meaning.

The paradox of reading is that the path toward ourselves passes through books, but that this must remain a passage. It is a traversal of books that a good reader engages in - a reader who knows that every book is the bearer of part of himself and can give him access to it, if only he has the wisdom to not end his journey there.

Like language, books serve to express us, but also to complete us, furnishing, through a variety of excerpted and reworked fragments, the missing elements of our personality.

A great number of elements in the characters' lives, both psychic and factual, are not communicated to us. [ ... ] These characters, I believe, enjoy a much greater autonomy than we usually think, and are able to take initiatives unknown both to the writer and the reader. When characters have their own will, their own autonomy, it gives the literary universe a greater internal mobility; it also makes the texts through which we view this world all the more open and incomplete.