“All this will have left you disposed to understand one of our principal Futurist efforts, which consists of abolishing in literature the apparently indissoluble fusion of the two concepts of Woman and Beauty. This ideological a fusion has reduced all romance to a sort of heroic assault that a bellicose and lyrical male launches against a tower that bristles with enemies, a story which ends when the hero, now beneath starlight, carries the divine Beauty-Woman away to new heights. Novels such as Toilers of the Sea by Victor Hugo or Salammbô by Flaubert can clarify my point. It is a matter of a dominant leitmotif, already worn out, c of which we would like to disencumber literature and art in general.”

“You drive the landscape like a herd of clouds
Moving against your horizontal tower
Of steadfast speed.
All England lies beneath you like a woman
With limbs ravished
By one glance carrying all these eyes.”

“When a man writes a romance, the woman dies. When a woman writes one, it ends all tidy and sweet.”

“The people of China forged their own literature apart from letters. And today this is what lives, to be part of what is to come, and all the formal literature, which was called art, is dead. The plots of these novels are often incomplete, the love interest is often not brought to solution, heroines are often not beautiful and heroes often are not brave. Nor has the story always an end; sometimes it merely stops, in the way life does, in the middle of it when death is not expected.
In this tradition of the novel have I been born and reared as a writer.”

“Male-female fusion does not create women’s rights. It creates a fusion of rights.”

“Polygamy is so beautiful for men. But a woman marrying two husbands that could end up as a BREAKING NEWS.”

“Sound poetry is a fusion of music and literature.”

“Readers understand that the books celebrate female power. In the romance novel, the woman always wins. With courage, intelligence and gentleness she brings the most dangerous creature on the earth, the human male, to his knees.”

“No one who is not utterly blind can fail to see that God gathered all the beauty of which the whole world is capable of in woman.”

“The complaint of the French artist against the Norman, is the "mesquin" treatment of dividing his tower into stories of equal height. Even in the twelfth century and in religious architecture, artists already struggled over the best solution to this peculiarly American problem of the twentieth century, and when tourists return to New York, they may look at the twenty-story towers which decorate the city, to see whether the Norman or the French plan has won; but this at least will be sure in advance:— the Norman will be the practical scheme which states the facts, and stops; while the French will be the graceful one, which states the beauties and more or less fits the facts to suit them.”