A lot of my work goes to the center of where we belong--if there is any root to life -because nowadays the family is broken up, and people don't live in the same place for very long.

I love her too, but our neuroses just don't match.

A little man makes a mistake and they hang him by the thumbs; the big ones become ambassadors.

A child's spirit is like a child, you can never catch it by running after it; you must stand still, and, for love, it will soon itself come back.

How to live had started out as an analytical problem of how to place himself so as to intercept the flow of money in the society.

Life, woman, life is God's most precious gift; no principle, however glorious, may justify the taking of it.

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.