Language and, presumably, literature are more ancient and inevitable, more durable than any form of social organization. The revulsion, irony, or indifference often expressed by literature toward the state is essentially the reaction of the permanent-better yet, the infinite-against the temporary, against the finite.

If one's fated to be born in Caesar's Empire, let him live aloof, provincial, by the seashore.

In general, in America, every discourse in literature in 15 minutes degenerates into a conversation about ethics, morality and this and that. The Holocaust and the consequences of it. Well, I find it terribly boring, predictable and unimportant, because what matters about literature is esthetic achievement.

Try not to pay attention to those who will try to make life miserable for you. There will be a lot of those-in the official capacity as well as the self-appointed. Suffer them if you can't escape them, but once you have steered clear of them, give them the shortest shrift possible. Above all, try to avoid telling stories about the unjust treatment you received at their hands; avoid it no matter how receptive your audience may be. Tales of this sort extend the existence of your antagonists.

A poet is a combination of an instrument and a human being in one person, with the former gradually taking over the latter. The sensation of this takeover is responsible for timbre; the realization of it, for destiny.

If I can get somewhere, I'm all right. If not, I'm miserable.

Every life has a file, if you will.