Our task, then always, is to challenge the apparent forms of reality-that is, the fixed manner and values of the few, and to struggle with it until it reveals its mad, vari-implicated chaos, its false face, and so on until it surrenders its insight, its truth.

The world is a possibility if only you'll discover it.

So why do I write, torturing myself to put it down? Because in spite of myself I've learned some things. Without the possibility of action, all knowledge comes to one labeled "file and forget," and I can neither file nor forget. Nor will certain ideas forget me; they keep filing away at my lethargy, my complacency. Why should I be the one to dream this nightmare?

At best Americans give but a limited attention to history. Too much happens too rapidly, and before we can evaluate it, or exhaust its meaning or pleasure, there is something new to concern us. Ours is the tempo of the motion picture, not that of the still camera, and we waste experience as we wasted the forest.

The blues is an impulse to keep the painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy but by squeezing from it a near-tragic, near-comic lyricism. As a form, the blues is an autobiographical chronicle of personal catastrophe expressed lyrically.

There must be possible a fiction which, leaving sociology and case histories to the scientists, can arrive at the truth about the human condition, here and now, with all the bright magic of the fairy tale.

It is sometimes advantageous to be unseen, although it is most often rather wearing on the nerves.