The violent illiteracies of the graffiti, the clenched silence of the adolescent, the nonsense cries from the stage-happening, are resolutely strategic. The insurgent and the freak-out have broken off discourse with a cultural system which they despise as a cruel, antiquated fraud. They will not bandy words with it. Accept, even momentarily, the conventions of literate linguistic exchange, and you are caught in the net of the old values, of the grammars that can condescend or enslave.

I believe that a work of art, like metaphors in language, can ask the most serious, difficult questions in a way which really makes the readers answer for themselves; that the work of art far more than an essay or a tract involves the reader, challenges him directly and brings him into the argument.

The very opposite of freedom is cliche, and nothing is less free, more inert with convention and hollow brutality, than a row of four-letter words.

Given my age, I am pretty near the end, probably, of my career as a writer, a scholar, a teacher. And I wanted to speak of things I will not be able to do.

Fischer does not merely outplay opponents; he leaves them bodily and mentally glutted. Fisher himself speaks of the exultant instant in which he feels the 'ego of the other player crumbling.'

Every language is a world. Without translation, we would inhabit parishes bordering on silence.

He who has read Kafka's Metamorphosis and can look into his mirror unflinching may technically be able to read print, but is illiterate in the only sense that matters.