These boys, now, were living as we'd been living then, they were growing up with a rush and their heads bumped abruptly against the low ceiling of their actual possibilities. They were filled with rage. All they really knew were two darknesses, the darkness of their lives, which were now closing in on them, and the darkness of the movies, which had blinded them to that other darkness, and in which they now, vindictively, dreamed, at once more together than they were at any other time, and more alone.

There is a 'sanctity' involved with bringing a child into this world: it is better than bombing one out of it.

Perhaps the whole root of our trouble, the human trouble, is that we will sacrifice all the beauty of our lives, will imprison ourselves in totems, taboos, crosses, blood sacrifices, steeples, mosques, races, armies, flags, nations, in order to deny the fact of death, the only fact we have. It seems to me that one ought to rejoice in the fact of death - ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life.

The South is very beautiful but its beauty makes one sad because the lives that people live here, and have lived here, are so ugly.

It seems to me that one ought to rejoice in the fact of death-- ought to decide, indeed, to earn one's death by confronting with passion the conundrum of life. One is responsible to life: It is the small beacon in that terrifying darkness from which we come and to which we shall return. One must negotiate this passage as nobly as possible, for the sake of those who are coming after us.

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.

I imagine one of the reasons people cling to their hates so stubbornly is because they sense, once hate is gone, they will be forced to deal with pain.