A person does not lightly elect to oppose his society. One would much rather be at home among one's compatriots than be mocked and detested by them. And there is a level on which the mockery of people, even their hatred, is moving, because it is so blind: It is terrible to watch people cling to their captivity and insist on their own destruction.

We are very cruelly trapped between what we would like to be and what we actually are. And we cannot possibly become what we would like to be until we are willing to ask ourselves just why the lives we lead on this continent are mainly so empty, so tame, and so ugly.

Because I was raised in a Christian culture I never considered myself to be a totally free human being.

The most dangerous creation of any society is the man who has nothing to lose.

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.

These boys, now, were living as we'd been living then, they were growing up with a rush and their heads bumped abruptly against the low ceiling of their actual possibilities. They were filled with rage. All they really knew were two darknesses, the darkness of their lives, which were now closing in on them, and the darkness of the movies, which had blinded them to that other darkness, and in which they now, vindictively, dreamed, at once more together than they were at any other time, and more alone.

The primary distinction of the artist is that he must actively cultivate that state which most men, necessarily, must avoid: the state of being alone.