It was the ponderous battering ram of his novels that opened the way through the genteel reticences of American nineteenth-century fiction. . . Without [Theodore] Dreiser's treading out a path for naturalism none of us would have had a chance to publish.

It's almost worth having been in the army for the joy your freedom gives you

When the typewriter stops in a New York office everybody's embarrassed; men start to quarrel or to make love to the stenographer or drop lighted cigarettes in the wastebasket.

A satirist is a man whose flesh creeps so at the ugly and the savage and the incongruous aspects of society that he has to express them as brutally and nakedly as possible in order to get relief.

The Enormous Room seems to me to be the book that has nearest approached the mood of reckless adventure in which men will reach the white heat of imagination needed to fuse the soggy disjointed complexity of the industrial life about us into seething fluid of creation. There can be no more playing safe.

There's something wonderfully exciting about the quiet sing song of an aeroplane overhead with all the guns in creation lighting out at it, and searchlights feeling their way across the sky like antennae, and the earth shaking snort of the bombs and the whimper of shrapnel pieces when they come down to patter on the roof.

To fight oppression, and to work as best we can for a sane organization of society, we do not have to abandon the state of mind offreedom. If we do that we are letting the same thuggery in by the back door that we are fighting off in front of the house.