Raymond Queneau Famous Quotes
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I don't know how long I stayed in that particular place my poor memory is not a chronometer nor a movie camera nor a phonograph nor any other sort of finely tuned machine. It's more like nature with holes empty spaces hidden nooks and crannies with rivers that trickle away so that you can never dip your foot in the same water twice and with patches of light and darkness.
Learning to learn is to know how to navigate in a forest of facts, ideas and theories, a proliferation of constantly changing items of knowledge. Learning to learn is to know what to ignore but at the same time not rejecting innovation and research.
To have one's own story told by a third party who doesn't know that the character in question is himself the hero of the story being told, that's a technical refinement.
When one made love to zero
spheres embraced their arches
and prime numbers caught their breath ...
The world is not what it seems - but it isn't anything else, either.
The Odyssey is the story of Americans up to the point where they are well-established, and even so it is detached from the historical side.
We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.
When Ulysses hears his own story sung by an epic poet and then he reveals his identity and the poet wants to continue singing, Ulysses isn't interested any longer. That's very astonishing.
I'll pun him so many puns that even his arrogance will finally be expunged.
When you have a past, Vovonne, you'll realize what an odd thing it is. In the first place, there's whole chunks of it that have caved in: absolutely nothing left. Elsewhere, there's weeds that've grown haphazard, and you can't recognize anything there either. And then there's places that you think are so beautiful that you give them a fresh coat of paint every year, sometimes in one color, sometimes in another, and they end up not looking in the least like what they were. Not counting the things we thought very simple and unmysterious when they happened, but which years later we discover aren't so obvious, like sometimes you pass a thing every day and don't notice it and then all of a sudden you see it.
Man's usual routine is to work and to dream and work and dream.
Happy nations have no history. History is the study of mankind's misfortune.
It is the creator of fiction's point of view; it is the character who interests him. Sometimes he wants to convince the reader that the story he is telling is as interesting as universal history.
The really inspired person is never inspired: he's always inspired: he doesn't go looking for inspiration and he doesn't get up in arms about artistic technique.
It isn't happiness I am concerned with but experience.
Many novelists take well-defined, precise characters, whose stories are sometimes of mediocre interest, and place them in an important historical context, which remains secondary in spite of everything.
As the saying goes: time is money- so give me some money to think.
Being or nothing, that is the question. Ascending, descending, coming, going, a man does so much that in the end he disappears.
True stories deal with hunger, imaginary ones with love.
Religions tend to disappear with man's good fortune.
The most heartbreakingly poignant modern love story ever written.
A very great Iliad ... concerns the creation of a nation.
One can easily classify all works of fiction either as descendants of the Iliad or of the Odyssey.
The Odyssey is the story of someone who, in the course of diverse experiences, acquires a personality or affirms and recovers his personality.
The poet is never inspired, because he is the master of that which appears to others as inspiration. He does not wait for inspiration to fall out of the heavens like roasted ortolans. He knows how to hunt ... He is never inspired because he is unceasingly inspired, because the powers of poetry are always at his disposition, subjected to his will, submissive to his own activity ...
The only advantage he could see in the change was that he had a small desk in his room; his capacity for isolation was thereby increased. But none of this changed his life very much. He continued his games of billiards and his reading. And was periodically overwhelmed by abominable fits of despair from which he was abruptly extricated by a ridiculous but stubborn optimism, an absurd love of life.
He wanted to be content with an identity nicely chopped into pieces of varying lengths, but whose character was always similar, without dyeing it in autumnal colors, drenching it in April showers or mottling it with the instability of clouds.
One must see everything.
Why," he was saying, "why should one not tolerate this life, since so little suffices to deprive one of it? So little brings it into being, so little brightens it, so little blights it, so little bears it away. Otherwise, who would tolerate the blows of fate and the humiliations of a successful career, the swindling of grocers, the prices of butchers, the water of milkmen, the irritation of parents, the fury of teachers, the bawling of sergeant-majors, the turpitude of the beasts, the lamentations of the dead-beats, the silence of infinite space, the smell of cauliflower or the passivity of the wooden horses on a merry-g0-round, were it not for his knowledge that the bad and proliferative behaviour of certain minute cells (gesture) or the trajectory of a bullet traced by an involuntary, irresponsible, anonymous individual might unexpectedly come and cause all these cares to evaporate into the blue heavens.
Rules cease to exist once they have outlived their value, but forms live on eternally. There are forms of the novel which impose on the suggested topic all the virtues of the Number. Born of the very expression and of the diverse aspects of the tale, connected by nature with the guiding idea, daughter and mother of all the elements that it polarizes, a structure develops, which transmits to the works the last reflections of Universal Light and the last echoes of the Harmony of Worlds.
All confessions are Odysseys.