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Quote by Minae Mizumura

“Presently a soprano voice of richness and depth floated from the open windows of the parlor, resonating over the darkening greenery. All at once it was as if the entire scene before them was awakened by that voice, infused with unexpected life: the western sky, streaked with bands of pale gold and purple; the two houses, standing gray and disconsolate against that sky; the clusters of trees casting deep black shadows here and there across the ground. The same voice that brought everything suddenly to life also drew them into another, much deeper world—a world that was normally hidden, a world that stretched out into eternity. Yusuke, who had at first looked on with a sense of distance as everyone else sat listening, their faces intent on the music, found himself being gradually drawn in as well, forgetting the moment and the place, lending his ear during that unworldly stretch of time as if entranced. No one spoke. The singing could not have lasted ten minutes, but when it ended he found the darkness all at once grew deeper.”

Quote by Minae Mizumura

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Minae Mizumura

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“But it was not only a feeling of guilt which drove him into danger. He detested the pettiness that made life semilife and men semimen. He wished to put his life on one of a pair of scales and death on the other. He wished each of his acts, indeed each day, each hour, each second of his life to be measured against the supreme criterion, which is death. That was why he wanted to march at the head of the column, to walk on a tightrope over an abyss, to have a halo of bullets around his head and thus to grow in everyone's eyes and become unlimited as death is unlimited. . .”

“إن الناس لا يحبون بعضهم بعضا بما فيه الكفاية... وهم حينما يبدون الحب يخفون الحسد, وحينما يظهرون الشفقة يخفون الحقد .. و زوال الطبقات, والمساواة في الفرص .. وتيسير الغذاء والكساء والدواء, والضمان الإجتماعي في العجز والشيخوخة لم يحقق المساواة بعد ! فما زالت هناك فروق نولد بها .. وتحت إرهابنا نخفي نفوسا متباينة القوة والضعف .. متباينة الذكاء والغباء .. الخامل والعبقري .. الخبيث والطيب .. حتى بعد إن تشابهت الوجوه والملامح والتقاطيع .. من طول ما اختلطت وتزاوجت الاجناس المختلفة .. ما زلنا مختلفين !! وهو اختلاف في جوهر الخليقة .. ولا بد أن نقبله بالمحبة الكافية .. وبالروح الرياضية الضرورية بلا حقد وبلا حسد .. إذا كان لا بد لنا أن نبلغ التكامل الخلقي المطلوب ..”

“Publishers, readers, booksellers, even critics, acclaim the novel that one can deliciously sink into, forget oneself in, the novel that returns us to the innocence of childhood or the dream of the cartoon, the novel of a thousand confections and no unwanted significance. What becomes harder to find, and lonelier to defend, is the idea of the novel as—in Ford Madox Ford’s words—a “medium of profoundly serious investigation into the human case.”

“He was looking for immensity. His life was hopelessly small, everything surrounding him was nondescript and gray. And death is absolute; it is indivisible and indissoluble. The presence of the girl was pathetic (a few caresses and a lot of meaningless words), but her absolute absence was infinitely grand; when he imagined a girl buried in a field, he suddenly discovered the nobility of pain and the grandeur of love. But it was not only the absolute but also bliss he was looking for in his dreams of death.”

“L'orgoglio è un difetto assai comune. Da tutto quello che ho letto, sono convinta che è assai frequente; che la natura umana vi è facilmente incline e che sono pochi quelli che tra noi non provano un certo compiacimento a proposito di qualche qualità - reale o immaginaria - che suppongono di possedere. Vanità e orgoglio sono ben diversi tra loro, anche se queste due parole vengono spesso usate nello stesso senso. Una persona può essere orgogliosa senza essere vana. L'orgoglio si riferisce soprattutto a quello che pensiamo di noi stessi; la vanità a ciò che vorremmo che gli altri pensassero di noi”