But we are mostly what we are, and the turtle stretching toward delicious buds on high does not lighten his carapace by his resolve.

There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.

An idol tells people exactly what to believe, God presents them with choices they have to make for themselves. The difference is far from insignificant; before the idol men remain dependent children, before God they are burdened and at the same time liberated to participate in the decisions of endless creation.

A play's an interpretation. It is not a report. And that is the beginning of its poetry because, in order to interpret, you have to distort toward a symbolic construction of what happened, and as that distortion takes place, you begin to leave out and overemphasize and consequently deliver up life as a unity rather than as a chaos, and any such attempt, the more intense it is, the more poetic it becomes.

It was not really possible to understand oneself, let alone another human being.

Glamour, that trans-human aura or power to attract imitation, is a kind of vessel into which dreams are poured, and some vessels are simply worthier than others... A beautiful woman can turn heads but real glamour has a deeper pull... Glamour is the power to rearrange people's emotions, which, in effect, is the power to control one's environment.

Nevertheless, one learned very early that books had to be respected; they were all putative Bibles and to some small degree had a share in holiness.