It is a very grave matter to be forced to imitate a people for whom you know-which is the price of your performance and survival-you do not exist. It is hard to imitate a people whose existence appears, mainly, to be made tolerable by their bottomless gratitude that they are not, thank heaven, you.

We take our shape, it is true, within and against that cage of reality bequeathed us at our birth; and yet it is precisely through our dependence on this reality that we are most endlessly betrayed.

Great art can only be created out of love.

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.

We are responsible for the world in which we find ourselves, if only because we are the only sentient force which can change it.

In overlooking, denying, evading this complexity--which is nothing more than the disquieting complexity of ourselves--we are diminished and we perish; only within this web of ambiguity, paradox, this hunger, danger, darkness, can we find at once ourselves and the power that will free us from ourselves. It is this power of revelation that is the business of the novelist, this journey toward a more vast reality which must take precedence over other claims.

What passes for identity in America is a series of myths about one's heroic ancestors. It's astounding to me, for example, that so many people really appear to believe that the country was founded by a band of heroes who wanted to be free. That happens not to be true. What happened was that some people left Europe because they couldn't stay there any longer and had to go somewhere else to make it. That's all. They were hungry, they were poor, they were convicts. Those who were making it in England, for example, did not get on the Mayflower. That's how the country was settled.