My desire was no less than before, you understand, but I no longer identified with the desire. Perhaps that is why taking them too seriously, we not only increase our susceptibility to disappointment, we actually create a climate inhospitable to the free and easy fulfillment of those desires.

I want to travel on a train that smells like snowflakes. I want to sip in cafes that smell like comets. Under the pressure of my step, I want the streets to emit the precise odor of a diamond necklace. I want the newspapers I read to smell like the violins left in pawnshops by weeping hobos on Christmas Eve. I want to carry luggage that reeks of the neurons in Einstein's brain. I want a city's gases to smell like the golden belly hairs of the gods. And when I gaze at a televised picture of the moon, I want to detect, from a distance of 239,000 miles, the aroma of fresh mozzarella.

The principal difference between an adventurer and a suicide is that the adventurer leaves himself a margin of escape (the narrower the margin the greater the adventure), a margin whose width and length may be determined by unknown factors but whose navigation is determined by the measure of the adventurer's nerve and wits. It is exhilarating to live by one's nerves or toward the summit of one's wits.

The principal difference between an adventurer and a suicide is that the adventurer leaves himself a margin of escape (the narrower the margin the greater the adventure)

The more advertising I see, the less I want to buy.

Plans are one thing and fate another. When they coincide, success results. Yet success mustn't be considered the absolute. It is questionable, for that matter, whether success is an adequate resposne to life. Success can eliminate as many options as failure.

Writing a novel is not so much a project as a journey, a voyage, an adventure.