Psychoanalysis showed me that I might be neurotic because I was a girl but, as Chekhov might have put it, I alone had to squeeze the slave out of myself, drop by drop.

Adorable in her not-very-bright submissiveness, charming in her childlike delight in shiny floors, even forgivable in her spiteful competition for the whitest, brightest wash, Madison Avenue's girl-next door is all the American male could wish for: unless, by some miscarriage, he should fancy human companionship.

Every work [of literature] has both a situation and a story. The situation is the context or circumstance, sometimes the plot; the story is the emotional experience that preoccupies the writer: the insight, the wisdom, the thing one has come to say

Before I knew that I was Jewish or a girl I knew that I was a member of the working class. At a time when I had not yet grasped the significance of the fact that in my house English was a second language, or that I wore dresses while my brother wore pants, I knew--and I knew it was important to know--that Papa worked hard all day long.

To do science today is to experience a dimension unique in contemporary working lives; the work promises something incomparable: the sense of living both personally and historically. That is why science now draws to itself all kinds of people - charlatans, mediocrities, geniuses - everyone who wants to touch the flame, feel alive to the time.

... the whole sickening trickery in life -- the idea that one cannot fight for one's humanity without, ironically, losing it ... that trickery is the real enemy and the very essence of the thing we must continually be on our guard against.

They may recognize themselves in what you're writing, and then they have to say, "Well, she doesn't see me as I see myself." All a writer has is her own experience, and that experience comes out of human relationships.