17, p. 95. {2} Maurice Blanchot, Faux Pas, pp. 257 and 259. {3} Cl.-Edmond Magny, 'Roman américain et Cinéma', Poesie 45, No. 24, p. 69. {4} André Gide, Dostoievski, p. 145. {5} Id., p. 185. {6} La Table Ronde, Paris, January, 1948, p. 145. {7} From Flaubert's correspondence. 'Not once,' wrote Proust, 'does one of my characters shut a window, wash his hands, put on his overcoat, utter a phrase of introduction. If there is anything at all new about the book, this would be it! . . .' (Letter to Robert Dreyfus). {9} Quentin is the Christian name of both the uncle and the niece; Caddy of the mother and daughter. {10} 'These gross motives, these vast, apparent movements, are usually all that is seen by both writers and readers, who are borne along by the movement of the action and spurred on by the plot in Behaviourist novels. They have neither time nor means—not having at their disposal a sufficiently delicate instrument of investigation—to see clearly the more fleeting, subtler movements that these grosser movements may conceal.
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