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.

Not everything that is faced can be changed. But nothing can be changed until it is faced.

But to look back from the stony plain along the road which led one to that place is not at all the same thing as walking on the road; the perspective to say the very least, changes only with the journey; only when the road has, all abruptly and treacherously, and with an absoluteness that permits no argument, turned or dropped or risen is one able to see all that one could not have seen from any other place.

He may be a very nice man. But I haven't got the time to figure that out. All I know is, he's got a uniform and a gun and I have to relate to him that way. That's the only way to relate to him because one of us may have to die.

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.

Our dehumanization of the Negro then is indivisible from our dehumanization of ourselves; the loss of our own identity is the price we pay for our annulment of his.

The American idea of racial progress is measured by how fast I become white.