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.

Passion is not friendly. It is arrogant, superbly contemptuous of all that is not itself, and, as they very definition of passion implies the impulse to freedom, it has a might intimidiating power. It contains a challenge. It contains an unspeakable hope.

Experience, which destroys innocence, also leads one back to 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.

To be black and conscious in America is to be in a constant state of rage.

You have to decide who you are and force the world to deal with you, not with its idea of you.

I must oppose any attempt that Negroes may make to do to others what has been done to them. . . . I know the spiritual wasteland to which that road leads . . . whoever debases others is debasing himself.