Popular success is a palace built for a writer by publishers, journalists, admirers and professional reputation makers, in which a silent army of termites, rats, dry rot and death-watch beetles are tunnelling away, till, at the very moment of completion, it is ready to fall down. The one hope for a writer is that although his enemies are often unseen they are seldom unheard. He must listen for the death-watch, listen for the faint toc-toc, the critic's truth sharpened by envy, the embarrassed praise of a sincere friend, the silence of gifted contemporaries, the implications of the don in the manger, the visitor in the small hours. He must dismiss the builders and contractors, elude the fans with an assumed name and dark glasses, force his way off the moving staircase, subject every thing he writes to a supreme critical court. Would it amuse Horace or Milton or Swift or Leopardi? Could it be read to Flaubert? Would it be chosen by the Infallible Worm, by the discriminating palates of the dead?

CYRIL CONNOLLY, Enemies of Promise

Like those crabs which dress themselves with seaweed, we wear belief and custom.

CYRIL CONNOLLY, The Unquiet Grave

Hate is the consequence of fear; we fear something before we hate; a child who fears noises becomes the man who hates them.

CYRIL CONNOLLY, The Unquiet Grave

Greed, like the love of comfort, is a kind of fear.

CYRIL CONNOLLY, The Unquiet Grave