I used to have a cat, an old fighting tom, who would jump through the open window by my bed in the middle of the night and land on my chest. I'd half-awaken. He'd stick his skull under my nose and purr, stinking of urine and blood. Some nights he kneaded my bare chest with his front paws, powerfully, arching his back, as if sharpening his claws, or pummeling a mother for milk. And some mornings I'd wake in daylight to find my body covered with paw prints in blood; I looked as though I'd been painted with roses.

How we spend our days is, of course, how we spend our lives. What we do with this hour and with that one, is what we are doing.

The written word is weak. Many people prefer life to it. Life gets your blood going, & it smells good. Writing is mere writing, literature is mere. It appeals only to the subtlest senses—the imagination’s vision, & the imagination’s hearing—& the moral sense, & the intellect. This writing that you do, that so thrills you, that so rocks & exhilarates you, as if you were dancing next to the band, is barely audible to anyone else.

I do not so much write a book as sit up with it, as a dying friend. I hold its hand and hope it will get better.

The mind wants the world to return its love, or its awareness; the mind wants to know all the world, and all eternity, and God.

There is a certain age at which a child looks at you in all earnestness and delivers a long, pleased speech in all the true inflections of spoken English, but with not one recognizable syllable. There is no way you can tell the child that if language had been a melody, he had mastered it and done well, but that since it was in fact a sense, he had botched it utterly.

All my books started out as extravagant and ended up pure and plain.