“In my photographic work I was always especially entranced, said Austerlitz, by the moment when the shadows of reality, so to speak, emerge out of nothing on the exposed paper, as memories do in the middle of the night, darkening again if you try to cling to them, just like a photographic print left in the developing bath too long.”

“Men and animals regard each other across a gulf of mutual incomprehension.”

“I believe, said Austerlitz, they know they have lost their way, since if you do not put them out again carefully they will stay where they are, never moving, until the last bath is out of their bodies, and indeed they will remain in the place where they came to grief even after death, held fast by the tiny claws that stiffened in their last agony,until a draft of air detaches them and blows them into a dusty corner.”

“I wonder now whether inner coldness and desolation may not be the pre-condition for making the world believe, by a kind of fraudulent showmanship, that one's own wretched heart is still aglow.”

“Tiny details imperceptible to us decide everything!”

“...to this day there is something illusionistic and illusory about the relationship of time and space as we experience it in traveling, which is why whenever we come home from elsewhere we never feel quite sure if we have really been abroad.”

“However much or little I had written, on a subsequent reading it always seemed so fundamentally flawed that I had to destroy it immediately and begin again.”

“In my photographic work I was always especially entranced, said Austerlitz, by the moment when the shadows of reality, so to speak, emerge out of nothing on the exposed paper, as memories do in the middle of the night, darkening again if you try to cling to them, just like a photographic print left in the developing bath too long.”

“How I wished during those sleepless hours that I belonged to a different nation, or better still, to none at all.”

“...and Věra said that every time we reached the page which described the snow falling through the branches of the trees, soon to shroud the entire forest floor, I would look up at her and ask: But if it's all white, how do the squirrels know where they've buried their hoard?... Those were your very words, the question which constantly troubled you. How indeed do the squirrels know, what do we know ourselves, how do we remember, and what it is we find in the end?”

“The tiny features below, taken together with the gentle mass of Montblanc towering above them, the Vanoise glacier almost invisible in the shimmering distance, and the Alpine panorama that occupied half the horizon, had for the first time in her life awoken in her a sense of the contrarieties that are in our longings.”