RAYMOND QUENEAU

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.

All confessions are Odysseys.

It doesn't seem to me that anyone has discovered much that's new since the Iliad or the Odyssey.

Ulysses finds himself unchanged, aside from his experience, at the end of his odyssey.

It seems to me that an author who has determined very new domains in literature is Gertrude Stein.

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.

All societies are historical.

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.

The Iliad is the private lives of people thrown into disorder by history.

After the magical act accomplished by Joyce with Ulysses, perhaps we are getting away from it.

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 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.

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.

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.

There have been only rare moments in history where individual histories were able to run their course without wars or revolutions.

Religions tend to disappear with man's good fortune.

Fiction has consisted either of placing imaginary characters in a true story, which is the Iliad, or of presenting the story of an individual as having a general historical value, which is the Odyssey.

The most heartbreakingly poignant modern love story ever written.

It isn’t happiness I am concerned with but experience.

Being or nothing, that is the question. Ascending, descending, coming, going, a man does so much that in the end he disappears.

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.

Happy nations have no history. History is the study of mankind's misfortune.

True stories deal with hunger, imaginary ones with love.