You feed yourself. Make sure you have all the information, whether it's aesthetic, scientific, mathematical, I don't care what it is. Then you walk away from it and let it ferment. You ignore it and pretend you don't care. Next thing you know, the answer comes.

But with the library, it's like catnip, I suppose: you begin to run in circles because there's so much to look at and read.

For it is a mad world and it will get madder if we allow the minorities, be they dwarf or giant, orangutan or dolphin, nuclear-head or water-conversationalist, pro-computerologist or Neo-Luddite, simpleton or sage, to interfere with aesthetics. The real world is the playing ground for each and every group, to make or unmake laws. But the tip of the nose of my book or stories or poems is where their rights end and my territorial imperatives begin, run and rule.

Stuff your eyes with wonder, live as if you'd drop dead in ten seconds. See the world. It's more fantastic than any dream made or paid for in factories.

And he remembered thinking then that if she died, he was certain he wouldn't cry. For it would be the dying face of an unknown, a street face, a newspaper image, and it was suddenly so very wrong that he had begun to cry, not at death but at the thought of not crying at death, a silly empty man near a silly empty woman.

You don't organize metaphors . . . you explode them.

[His] library was a fine dark place bricked with books, so anything could happen there and always did. All you had to do was pull a book from the shelf and open it and suddenly the darkness was not so dark anymore.