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.

Europe has what we [Americans] do not have yet, a sense of the mysterious and inexorable limits of life, a sense, in a word, of tragedy. And we have what they sorely need: a sense of life's possibilities.

Any writer, I suppose, feels that the world into which he was born is nothing less than a conspiracy against the cultivation of his talent.

There exists among the intolerable degraded, the perverse and powerful desire to force into the arena of the actual those fantastic crimes of which they have been accused, achieving their vengeance and their own destruction through making the nightmare real.

Hatred destroys the person who hates.

One can only face in others what one can face in oneself.

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