Man, when reduced to nothing, or in other words a survivor, is not tragic but comic, because he has no fate. — Imre Kertész

Thereafter, the scenes had succeeded one another, turn and turn about, in the drama as in reality, to the point that, in the end, Kingbitter did not know what to admire more: the author's-his dead friend's-crystal-clear foresight or his own, so to say, remorseful determination to identify with his prescribed role and stick to the story.

Nowadays, though, with the lapse of nine years, Kingbitter was interested in something else. His story had reached an end, but he himself was still here, posing a problem for which he more and more put off finding a solution. He would either have to carry on his story, which had proved impossible, or else start a new story, which had proved equally impossible. Kingbitter undoubtedly could see solutions to hand, both better ones and worse; indeed, if he reflected more deeply, solutions were all he could see, rather than lives.

A person’s true means of expression is his life. Living the shame of life and maintaining silence, that was the greatest accomplishment of all.

He liked the style, that wry gallows humor armed with the semblance of omniscience; a most serviceable style it was, the dialect of the initiated, protecting them from their disillusionments, their fears, their well-concealed childish hopes.