The writer's greed is appalling. He wants, or seems to want, everything and practically everybody, in another sense, and at the same time, he needs no one at all.

Precisely at the point when you begin to develop a conscience you must find yourself at war with your society.

You write in order to change the world.

There is no way of conveying to the corpse the reasons you have made him one--you have the corpse, and you are, thereafter, at themercy of a fact which missed the truth, which means that the corpse has you.

I remember standing on a street corner with the black painter Beauford Delaney down in the Village, waiting for the light to change, and he pointed down and said, 'Look.' I looked and all I saw was water. And he said, 'Look again,' which I did, and I saw oil on the water and the city reflected in the puddle. It was a great revelation to me. I can't explain it. He taught me how to see, and how to trust what I saw. Painters have often taught writers how to see. And once you've had that experience, you see differently.

He leaned up a little and watched her face. Her face would now be, forever, more mysterious and impenetrable than the face of any stranger. Strangers' faces hold no secrets because the imagination does not invest them with any. But the face of a lover is an unknown precisely because it is invested with so much of oneself. It is a mystery, containing, like all mysteries, the possibility of torment.

It happened, as many things do, imperceptibly, in many ways at once. I date it - the slow crumbling of my faith, the pulverization of my fortress - from the time, about a year after I had begun to preach, when I began to read again. I justified this desire by the fact that I was still in school, and I began, fatally, with Dostoyevsky.