Patrick Modiano cytaty

strona 2

„Do czegóż bowiem mogłem aspirować w tym małym kraju? Handel antykami? Praca kolportera książek? Kariera literata, gaduły i zmarzlucha? Żaden z tych zawodów nie budził mojego entuzjazmu.”

„Bywają takie tajemnicze istoty – zawsze te same – trzymające straż na wszystkich rozstajach ludzkiego życia.”

„Okno w jej pokoju w Hermitage’u było uchylone i słyszałem regularny stukot piłeczek tenisowych, dalekie okrzyki graczy. Skoro wciąż jeszcze istnieli sympatyczni, podnoszący na duchu głupcy, którzy, ubrani w białe stroje, przerzucali piłki nad siatką, znaczyło to, że ziemia nadal się kręci i że mamy przed sobą jeszcze kilka godzin wytchnienia.”

“A photograph can express silence.”

“She committed suicide…
"Why?"
"She often told me, she was frightened of getting old."”

“I always think twice before reading the biography of a writer I admire. Biographers sometimes latch onto small details, unreliable eyewitness accounts, character traits that appear puzzling or disappointing – all of which is like the crackling sound that messes with radio transmissions, making the music and the voices impossible to hear. It is only by actually reading his books that we gain intimacy with a writer. This is when he is at his best and he is speaking to us in a low voice without any of the static.”

“I AM NOTHING. Nothing but a pale shape.”

“I was always amazed when people were kind to us.”

“This feeling of not belonging to the same sensation which grips you in a dream, you find yourself walking through an unfamiliar district. On waking you realize, little by little, that the pattern of its streets had overlaid with the one with which, in day time, you are familiar.”

“Fredo Lampe. Am Rande Der Nacht. For me, name and title evoked those lighted windows from which you cannot tear your gaze. You are convinced that, behind them, somebody whom you have forgotten has been awaiting your return for years, or else that there is no longer anybody there. Only a lamp, left burning in the empty room.”

“Has a biographer the right to suppress certain details under the pretext that he considers them superfluous? Or do they all have their importance, and must he present them one after the other, impartially, so that not a single one is left out, as in the inventory of a distraint? Unless the line of life, once it has reached its term, purges itself of all its useless and decorative elements. In which case, all that remains is the essential: the blanks, the silences and the pauses.”

“There are moments when we are incapable of exchanging a single word with anybody…it’s beyond us…”

“A novelist has more talent for written than oral assignments.”

“But topographical details have a strange effect on me : instead of clarifying and sharpening images from past, they give me a harrowing sensation of emptiness and severed relationships.”