There comes a point, in literary objectivity, when the author's self- effacement is hard to distinguish from moral cowardice.

Man's deliberate destruction of his own habitat -- planet Earth -- could serve as a mighty theme for a mighty book worthy of a modern Melville or Tolstoy. But our best fictioneers confine themselves to domestic drama -- soap opera with literary trimmings.

Trout fishing. One must be a stickler for proper form. Use nothing but #4 blasting caps, or a hand grenade, if handy, or at a pool well-lined with stone, one blast from a .44 magnum will bring a few stunned brookies quietly to the surface.

Tofu and futons. The adepts of Orientalism seem to spend most of their lives reclining. They can't quite summon the energy to crawl up onto a chair. Even their Yogic exercises are carried out in a prone or sitting position.

Nature is indifferent to our love, but never unfaithful.

Edmund Wilson was our greatest American literary critic because he was more than a literary critic: He was a fearless, even radical judge of the society he lived in. (See, for example, _A Piece of My Mind_; _The Cold War and the Income Tax_; the introduction to _Patriotic Gore_.) Our conventional critics cannot forgive him for those scandalous lapses in good taste.

The fire. The odor of burning juniper is the sweetest fragrance on the face of the earth, in my honest judgment; I doubt if all the smoking censers of Dante's paradise could equal it. One breath of juniper smoke, like the perfume of sagebrush after rain, evokes in magical catalysis, like certain music, the space and light and clarity and piercing strangeness of the American West. Long may it burn.