Falsehood is a critical element in fiction. Part of the thrill of being told a story is the chance of being hoodwinked. . .The telling of lies is a sort of sleight of hand that displays our deepest feelings about life.

The poet or storyteller who feels that he is competing with a superb double play in the World Series is a lost man. One would not want as a reader a man who did not appreciate the finesse of a double play.

That's the way I remember them, heading for an exit.

The writer cultivates, extends, raises and inflates his imagination, sure that this is his destiny, his usefulness, his contribution to the understanding of good and evil. As he inflates his imagination he inflates his capacity for evil.

...the sounds next door served as a kind of trip wire: I seemed to stumble and fall on my face, skinning and bruising myself here and there and scattering my emotional and intellectual possessions. There was no point in pretending that I had not fallen, for when we are stretched out in the dirt we must pick ourselves up and brush off our clothes. This then, in a sense, is what I did, reviewing my considered opinions on marriage, constancy, man's nature, and the importance of love. When I had picked up my possessions and repaired my appearance, I fell asleep.

Fear tastes like a rusty knife and do not let her into your house. Courage tastes of blood. Stand up straight. Admire the world. Relish the love of a gentle woman.

Art is the triumph over chaos.