I know he's dead! Don't you think I know that? I can still like him, though, can't I? Just because somebody's dead, you don't just stop liking them, for God's sake--especially if they were about a thousand times nicer than the people you know that're alive and all.

Phooey, I say, on all white-shoe college boys who edit their campus literary magazines. Give me an honest con man any day.

Just go to bed, now. Quickly. Quickly and slowly.

I’m just sick of ego, ego, ego. My own and everybody else’s. I’m sick of everybody that wants to get somewhere, do something distinguished and all, be somebody interesting. It’s disgusting.

You can't argue with someone who believes, or just passionately suspects, that the poet's function is not to write what he must write but, rather, to write what he would write if his life depended on his taking responsibility for writing what he must in a style designed to shut out as few of his old librarians as humanly possible.

Against my better judgment I feel certain that somewhere very near here—the first house down the road, maybe—there's a good poet dying, but also somewhere very near here somebody's having a hilarious pint of pus taken from her lovely young body, and I can't be running back and forth forever between grief and high delight.

But I do say that educated and scholarly men, if they’re brilliant and creative to begin with—which, unfortunately, is rarely the case—tend to leave infinitely more valuable records behind them than men do who are merely brilliant and creative. They tend to express themselves more clearly, and they usually have a passion for following their thoughts through to the end.