Modern readers are responsive to Proust’s tireless and brilliant analyses of love because we, too, no longer take love for granted. Readers today are always making the personal public, the intimate political, the instinctual philosophical. Proust may have attacked love, but he did know a lot about it. Like us, he took nothing for granted. He was not on smug, cozy terms with his own experience. We read Proust because he knows so much about the links between childhood anguish and adult passion. We read Proust because, despite his intelligence, he holds reasoned evaluations in contempt and knows that only the gnarled knowledge that suffering brings us is of any real use. We read Proust because he knows that in the terminal stage of passion we no longer love the beloved; the object of our love has been overshadowed by love itself: “And this malady which Swann’s love had become had so proliferated, was so closely interwoven with all his habits, with all his actions, with his thoughts, his health, his sleep, his life, even with what he hoped for after his death, was so utterly inseparable from him, that it would have been impossible to eradicate it without almost entirely destroying him; as surgeons say, his love was no longer operable.

Speaking of novels,’ I said, ‘you remember we decided once, you, your husband and I, that Proust’s rough masterpiece was a huge, ghoulish fairy tale, an asparagus dream, totally unconnected with any possible people in any historical France, a sexual travestissement and a colossal farce, the vocabulary of genius and its poetry, but no more, impossibly rude hostesses, please let me speak, and even ruder guests, mechanical Dostoevskian rows and Tolstoian nuances of snobbishness repeated and expanded to an unsufferable length, adorable seascapes, melting avenues, no, do not interrupt me, light and shade effects rivaling those of the greatest English poets, a flora of metaphors, described — by Cocteau, I think — as “a mirage of suspended gardens,” and, I have not yet finished, an absurd, rubber-and-wire romance between a blond young blackguard (the fictitious Marcel), and an improbable jeune fille who has a pasted-on bosom, Vronski’s (and Lyovin’s) thick neck, and a cupid’s buttocks for cheeks; but — and now let me finish sweetly — we were wrong, Sybil, we were wrong in denying our little beau ténébreux the capacity of evoking “human interest”: it is there, it is there — maybe a rather eighteenth-centuryish, or even seventeenth-centuryish, brand, but it is there. Please, dip or redip, spider, into this book [offering it], you will find a pretty marker in it bought in France, I want John to keep it. Au revoir, Sybil, I must go now. I think my telephone is ringing.

If there was ever a bigger pansy than my father, it was Marcel Proust.

Reading Proust nearly silenced Virginia Woolf. She loved his novel, but loved it rather too much. There wasn’t enough wrong with it — a crushing recognition when one considers Walter Benjamin’s assessment of why people become writers: because they are unable to find a book already written that they are completely happy with.

The genius of Proust is the totality of the works of Proust.

Thousands and thousands of books are thrown on the market every year
presenting some new variant of the personal romance, some tale of the vacillations
of the melancholic or the career of the ambitious. The heroine of Proust requires
several finely-wrought pages in order to feel that she does not feel anything. It
would seem that one might, at least with equal justice, demand attention to a
series of collective historic dramas which lifted hundreds of millions of human
beings out of nonexistence, transforming the character of nations and intruding
forever into the life of all mankind.

"-NONREADING-

Bookstores don't provide
a remote control for Proust,
you can't switch
to a soccer match,
or a quiz show, win a Cadillac.

We live longer
but less precisely
and in shorter sentences.

We travel faster, farther, more often,
but bring back slides instead of memories.
Here I am with some guy.
There I guess that's my ex.
Here everyone's naked
so this must be a beach.

Seven volumes — mercy.
Couldn't it be cut or summarized,
or better yet put into pictures.
There was that series called "The Doll,"
but my sister-in-law says that's some other P.*

And by the way, who was he anyway.
They say he wrote in bed for years on end.
Page after page
at a snail's pace.
But we're still going in fifth gear
and, knock on wood, never better."

Das Leben ist zu kurz und Proust zu lang...

In my twenties if even a tenth reading of Mallarmé failed to yield up its treasures, the fault was mine, not his. If my eyes swooned shut while I read <i>The Sweet Cheat Gone</i>, Proust’s pacing was never called into question, just my intelligence and dedication and sensitivity. And I still entertain these sacralizing preconceptions about high art. I still admire what is difficult, though I now recognize it as a “period” taste and that my generation was the last to give a damn. Though we were atheists, we were, strangely enough, preparing ourselves for God’s great Quiz Show; we had to know everything because we were convinced we would be tested on it — in our next life.

As Proust once said, classically beautiful women should be left to men without imagination.

Who is the Tolstoy of the Zulus? The Proust of the Papuans? I'd be happy to read them.

Literature is a field a great many men consider theirs by right. Virginia Woolf committed successful competition in that field. She barely escaped the first and most effective punishment — omission from the literary canon after her death. Yet eighty or ninety years later charges of snobbery and invalidism are still used to discredit and diminish her. Marcel Proust's limitations and his neuroticism were at least as notable as hers. But that Proust needed not only a room of his own but a cork-lined one is taken as proof he was a genius. That Woolf heard the birds singing in Greek shows only that she was a sick woman.

Her reputation for reading a great deal hung about her like the cloudy envelope of a goddess in an epic.

Her breasts and her dark hair were perfume
and even an old man would desire her.