In a democracy in the 20th and 21st century, if you can't base your fiction upon ordinary people and the issues that engage them, then you are reduced to writing about spectacular unreal people. You know, James Bond or something, and you cook up adventures.

Most writers begin with accounts of their first home, their family, and the town, often from quite a hostile point of view-love/hate, let's say. In a way, this stepping outside, in an attempt to judge enough to create a duplicate of it, makes you an outsider. . . . I think it's healthy for a writer to feel like an outsider. If you feel like an insider you get committed to a partisan view, you begin to defend interests, so you wind up not really empathizing with all mankind.

Whatever art offered the men and women of previous eras, what it offers our own, it seems to me, is space - a certain breathing room for the spirit. The town I grew up in had many vacant lots; when I go back now, the vacant lots are gone. They were a luxury, just as tigers and rhinoceri, in the crowded world that is making, are luxuries. Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.

Among the repulsions of atheism for me has been its drastic un-interestingness as an intellectual position. Where was the ingenuity, the ambiguity, the humanity of saying that the universe just happened to happen and that when we're dead we're dead?

All those little congruences and arabesques you prepared with such delicate anticipatory pleasure are gobbled up as if by pigs at a pastry cart.

Women, fire in their crotch, won't burn out, begin by fighting off pricks, end by going wild hunting for one that still works.

American art in general... takes to surreal exaggerations and metaphors; but its Puritan work ethic has little use for the playful self-indulgence behind Parisian Surrealism.