It was as though we were a picture, trapped in time: this had been happening for hundreds of years, people sitting in a room, waiting for dinner, and listening to the blues.

To hold in the mind forever two ideas which seemed to be in opposition. The first . . . acceptance totally without rancor, of life as it is, and men as they are [;] . . . the second . . . that one must never, in one's life, accept . . . injustices as commonplace but must fight them with all one's strength.

If we do not now dare everything, the fulfillment of that prophecy, re-created from the Bible in song by a slave, is upon us: God gave Noah the rainbow sign. No more water, fire next time.

For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it always must be heard. There isn't any other tale to tell, it's the only light we've got in all this darkness.

An identity is questioned only when it is menaced, as when the mighty begin to fall, or when the wretched begin to rise, or when the stranger enters the gates, never, thereafter, to be a stranger.

Yet I also suspected that what I was seeing was but a part of the truth and perhaps not even the most important part; beneath these faces, these clothes, accents, rudenesses, was power and sorrow, both unadmitted, unrealized, the power of inventors, the sorrow of the disconnected.

All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours.