Could two live that way? Could two live under the wild rose, and explore by the pond, so that the smooth mind of each is as everywhere present to the other, and as received and as unchallenged, as falling snow?

One of the few things I know about writing is this: spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now. . . . Something more will arise for later, something better. These things fill from behind, from beneath, like well water. Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.

For all the insularity of the old guard, Pittsburgh was always an open and democratic town.

Every book has an intrinsic impossibility, which its writer discovers as soon as his first excitement dwindles.

The world did not have me in mind; it had no mind. It was a coincidental collection of things and people, of items, an I myself was one such item...the things in the world did not necessarily cause my overwhelming feelings; the feelings were inside me, beneath my skin, behind my ribs, withing my skull. They were even, to some extent, under my control.

The creative process obtains in all creative acts. So if I'm painting suddenly I'll see something that I didn't see before.

poetry has been able to function quite directly as human interpretation of the raw, loose universe. It is a mixture, if you will, of journalism and metaphysics, or of science and religion.