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So what can I say to you? I don't know how to please your readers. Those're people with whom you've got to be gentle. You can't beat them up. They like us to amuse them without abusing them. Let's talk. An author doesn't have so many books in him.

I got into it out of curiosity. Curiosity, that's expensive. I've become a tragical chronicler. Most authors are looking for tragedy without finding it. They remember personal little stories which aren't tragedy. You'll say: The Greeks. The tragic Greeks had the impression of speaking with the gods. Well, sure. Christ, it's not everyday you have a chance to telephone the gods. How's that for catharsis!

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The fall of Stalingrad is the finish of Europe. There was a cataclysm. The core of it all was Stalingrad. There you can say it was finished and well finished, the white civilization. So all that, it made some noise, some boiling, the guns, the waterfalls. I was in it. I profited off it. I used this stuff. I sell it. Evidently I've been mixed up in situations—the Jewish situation—which were none of my business, I had no business being there.

What we understand today by love feeling plus passion did not interest the Greeks. Greek love is love as an impulse, as a desire, as a need of reunification, so that any erotic act is the sign of an imperfection. Only to love something inferior is a pathologic sign, and when loving is like this, the inferior cannot have, from love, the best part. Therefore, it is more valuable to be loved than to love. Since the Greek feels love as a necessity, they do not make the distinction between love as such and the other needs of human nature anymore.

Even so I described them. Your style shook a lot of habits. Take the impressionists. They took their painting one fine day and went to paint outside. They saw how you really lunch on the grass. The musicians worked at it too.

From Bach to Debussy there's a big difference. They've caused some revolutions. They've stirred the colors, the sounds. For me it's words, the positions of words. Where French literature's concerned, there I'm going to be the wise man, make no mistake. We're pupils of the religions—Catholic, Protestant, Jewish. Well, the Christian religions. Those who directed French education down through the centuries were the Jesuits. They taught us how to make sentences translated from the Latin, well balanced, with a verb, a subject, a complement, a rhythm.

In short—here a speech, there a preach, everywhere a sermon! It's flat, it's nothing, it's nil. Me, I've slipped the spoken word into print. In one sole shot. It's work. It doesn't seem like anything the way it is, but it's quality. To do a Cauta i Housewife Le Havre like one of mine you have to write eighty thousand pages in order to get eight hundred.

He writes like he talks.

Markus Goller.

Those are everyday words. They're practically identical.

You recognize them. A word used like that becomes at the same time more intimate and more exact than what you usually find there. You make up your style. It helps to get out what you want to show of yourself. Savy, the biologist, said something appropriate: In the beginning there was emotion, and the verb wasn't there at all. When you tickle an amoeba she withdraws, she has emotion, she doesn't speak but she does have emotion. A baby cries, a horse gallops.

Only us, they've given us the verb. That gives you the politician, the writer, the prophet. The verb's horrible.

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You can't smell it. But to get to the point where you can translate this emotion, that's a difficulty no one imagines. It's ugly. It's superhuman. It's a trick that'll kill a guy. You've got to pay. A story you make up, that isn't Cauta i Housewife Le Havre anything. The only story that counts Cauta i Housewife Le Havre the one you pay for. When it's paid for, then you've got the right to transform it. Otherwise it's lousy. Me, I work. I have a contract, it's got to be filled.

Only I'm sixty-six years old today, I'm seventy-five percent mutilated. At my age most men have retired. I owe six million to Gallimard. I already have another novel in the works: always the same stuff. It's chicken feed. I know a few novels. But novels are a little like lace. Novels can't fight cars, movies, television, booze.

A guy who's eaten well, who's escaped the big war, in the evenings gives a peck to the old lady and his day's finished. Done Cauta i Housewife Le Havre. Interview, later in Do you Cauta i Housewife Le Havre having had a shock, a literary explosion, which marked you?

Me, I started in medicine and I wanted medicine and certainly not literature. Jesus Christ, no! If there are any people who seem to me gifted, I've seen it in—always the same—Paul Morand, Ramuz, Barbusse, the guys who were made for it. I had an enormous admiration for doctors. Oh, that seemed extraordinary, that did. Medicine was my passion. I saw a miraculous guy, I did, who cured, who did surprising things to a body which didn't feel like working.

I found that terrific. He looked very wise. I found it absolutely magical.

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Now he's so mistreated by society he has competition from everybody, he has no more prestige, no more prestige. Since he's dressed up like a gas-station attendant, well, bit by bit, he becomes a gas-station attendant. He doesn't have much to say anymore, the housewife has Larousse Médical, and then diseases themselves have lost their prestige, there are fewer of them, so look what's happened: no syph, no gonorrhea, no typhoid.

Antibiotics have taken a lot of fete singure din Slatina care cauta barbati din ClujNapoca tragedy out of medicine. So there's no more plague, no more cholera. Some madnesses kill, but not many. But as for the half-mad, Paris is full of them.

There's a natural need to look for excitement, but obviously all the bottoms you see around town inflame the sex drive to a degree.

I say it'd be better to see some working on the machines. But the human problem, now, is not medicine.

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It's mainly women who consult doctors. Woman is very troubled, because clearly she has every kind of known weakness.

She needs. She has her menopause, her periods, the whole genital business, which is very delicate, it makes a martyr out of her, doesn't it, so this martyr lives anyway, she bleeds, she doesn't bleed, she goes and gets the doctor, Cauta i Housewife Le Havre has operations, she doesn't have operations, she gets re-operated, then in between she gives birth, she loses her shape, all that's important.

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She wants to stay young, keep her figure, well. She doesn't want to do a thing and she can't do a thing. She hasn't any muscle.

It's an immense problem. It supports the beauty parlors, the quacks, and the druggists.

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But it doesn't present an interesting medical situation, woman's decline. It's obviously a fading rose, you can't say it's a medical problem, or an agricultural problem. In a garden, when you see a rose fade, you accept it. Another one will bloom.

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Whereas in woman, she doesn't want to die. That's the hard part. I ran around a lot in my youth.

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We climbed a lot of stairs, saw a lot of people. It helped me a lot in all ways, I must say. Yes, enormously.

But I didn't write any medical novels, that's an abominable bore. And how! They wanted to make a buyer out of me. A department store salesman! We didn't have anything, my parents didn't have the means, don't you see. I started in poverty, and that's how I'm finishing.

In the sense that we hardly had enough to eat, and you had to keep up appearances.

Nu o sa va ofer niciun spoiler, desi cred ca aveti o idee vaga despre ceea ce se va intampla, insa pana atunci iata un rezumat al sezonului 2. Cum de s-a intamplat una ca asta?

For example, we had two shop fronts in the passage Choiseul, but there was always only one lit up because the other was empty. And you had to wash the passage before going to work. My father. That was no joke.