“Visiting a museum is a matter of going from void to void. Hallways lead the viewer to things once called 'pictures' and 'statues." Anachronisms hang and protrude from every angle. Themes without meaning press on the eye. Multifarious nothings permute into false windows (frames) that open up into a variety of blanks. Stale images cancel one's perception and deviate one's motivation. Blind and senseless, one continues wandering around the remains of Europe, only to end in that massive deception 'the art history of the recent past'”

1960's, Conversations with Samuel Beckett and Bram van Velde' (1965 - 1969)

1945 - 1970, A Report on the Wall' 1970

Part 3, Chapter 1 (p. 107)
Artifact (1985)

Book III, Ch. I, p. 136.
Physics

Source: House of Suns (2008), Chapter 19 (p. 307)

Te asusta el vacío, ¡y abres más los ojos!
Voces (1943)

<p>¿Sabes que en las calles no hay nadie
y adentro de las casas tampoco?</p><p>Sólo hay ojos en las ventanas.
Si no tienes dònde dormir
toca una puerta y te abrirán,
te abrirán hasta cierto punto
y verás que hace frío adentro,
que aquella casa está vacía,
y no quiere nada contigo,
no valen nada tus historias,
y si insistes con tu ternura
te muerden el perro y el gato.</p>
Soliloquio en Tinieblas (Soliloquy at Twilight) from Estravagario (Book of Vagaries) (1958).

Book I, Ch. VI, p. 57.
Physics

Closing words, p. 554.
A Soldier's Story (1951)
Context: A canvas map lay under my helmet with its four silver stars. Only five years before on May 7, as a lieutenant colonel in civilian clothes, I had ridden a bus down Connecticut Avenue to my desk in the old Munitions building. I opened the mapboard and smoothed out the tabs of the 43 divisions now under my command. They stretched across a 640-mile front of the 12th Army Group. With a china-marking pencil, I wrote in the new date: D plus 335. I walked to the window and ripped open the blackout blinds. Outside the sun was climbing into the sky. The war in Europe had ended.