Marylou was watching Dean as she had watched him clear across the country and back, out of the corner of her eye--with a sullen, sad air, as though she wanted to cut off his head and hide it in her closet, an envious and rueful love of him so amazingly himself, all raging and sniffy and crazy-wayed, a smile of tender dotage but also sinister envy that frightened me about her, a love she knew would never bear fruit because when she looked at his hangjawed bony face with its male self-containment and absentmindedness she knew he was too mad.

This was a manuscript of the night we couldn’t read.

It’s not that I can’t fall in love. It’s really that I can’t help falling in love with too many things all at once. So, you must understand why I can’t distinguish between what’s platonic and what isn’t, because it’s all too much and not enough at the same time.

The cowboy music twanged in the roadhouse and carried across the fields, all sadness. It was all right with me. I kissed my baby and we put out the lights.

Everything I wrote was true because I believed what I saw.

Anybody doesn't like these pitchers don't like potry, see? Anybody don't like potry go home see television shots of big hatted cowboys being tolerated by kind horses. Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the poets of the world. To Robert Frank I now give this message: You got eyes.

I'll go to the south of Sicily in the winter, and paint memories of Arles – I'll buy a piano and Mozart me that – I'll write long sad tales about people in the legend of my life – This part is my part of the movie, let's hear yours