"The searing regret of having made the wrong decision in life and realizing it too late makes this book as heart-wrenching today as it was a century ago. Wharton’s writing style, too, is fresh and durable—surprisingly modern when compared with that of her friend and contemporary Henry James. Among the most memorable passages are her prose portraits. Her mocking 165-word description of the doyenne of New York society Mrs. Manson Mingott in chapter four is a hilarious classic of the genre"

‘No man is an island.’ The tide that fills every man is a piece of the continent, a part of the main. And [Donne] goes on toward the end to say, ‘any man’s death diminishes me because I’m involved in mankind. Therefore, it’s not to know for whom the bell tolls, it tolls for thee.’ Somehow we must come to see that in this pluralistic, interrelated society we are all tied together in a single garment of destiny, caught in an inescapable network of mutuality.

"This movies brings me back to my first years discovering cinema. In the South of France, where I grew up, the first video-clubs were in newsagents. One could mostly find horror and porn movies. This is how I discovered Carpenter, Argento, Cronenberg. In Assault on Precinct 13 and in a lot of other Carpenter films a man is trying to reconstruct society. At the time, horror films were rooted in real emotions and actual fears, like Dario Argento’s fear of the Red Brigades."

"For me, this created a whole new layer of filmmaking. It’s an amazing movie, and a little bit like La strada in that you don’t have to be a filmmaker or enthusiast to appreciate it. It just plays out like a really good documentary and a really good fiction, and it says a lot not only about Iranian society but about the human condition. This is the richest movie Kiarostami made, in my opinion, and it’s one of the best works of Iranian cinema."