“Come here, let me share a bit of wisdom with you.Have you given much thought to our mortal condition?Probably not. Why would you? Well, listen.All mortals owe a debt to death.There's no one alivewho can say if he will be tomorrow.Our fate moves invisibly! A mystery.No one can teach it, no one can grasp it.Accept this! Cheer up! Have a drink!But don't forget Aphrodite--that's one sweet goddess.You can let the rest go. Am I making sense?I think so. How about a drink.Put on a garland. I'm surethe happy splash of wine will cure your mood.We're all mortal you know. Think mortal.Because my theory is, there's no such thing as life,it's just catastrophe.”

“You sense my loneliness, (...) my bitterness at being shut out of life. My bitterness that I'm evil, that I don't deserve to be loved and yet I need love hungrily. My horror that I can never reveal myself to mortals. But these things don't stop me, Mother. I'm too strong for them to stop me. As you said yourself once, I am very good at being what I am. These things merely now and then make me suffer, that's all”

“Now every mortal has painand sweat is constant,but if there is anything dearer than being alive,it's dark to me.We humans seem disastrously in love with this thing(whatever it is) that glitters on the earth--we call it life. We know no other.The underworld's a blankand all the rest just fantasy.”

“fr. 2All We as Leaves He (following Homer) compares man's life with the leaves.All we as leaves in the shock of it: spring-one dull gold bounce and you're there. You see the sun? - I built that.As a lad. The Fates lashing their tails in a corner. But (let me think) wasn't it a hotel in Chicago where I had the first of those - my body walking out of the room bent on some deadly errandand me up on the ceiling just sort of fading out- brainsex paintings I used to call them?In the days when I (so to speak) painted. Rememberthat oddly wonderful chocolate we got in East (as it was then) Berlin?”

“You remember too much,my mother said to me recently.Why hold onto all that? And I said, Where can I put it down?”

“I used to think when I was younger and writing that each idea had a certain shape and when I started to study Greek and I found the word morphe it was for me just the right word for that, unlike the word shape in English which falls a bit short morphe in greek means the sort of plastic contours that an idea has inside your all your senses when you grasp it the first moment and it always seemed to me that a work should play out that same contour in its form. So I can’t start writing something down til I get a sense of that, that morphe. And then it unfolds, I wouldn’t say naturally, but it unfolds gropingly by keeping only to the contours of that form whatever it is.”

“There is a theory that watching unbearable stories about other people lost in grief and rage is good for you—may cleanse you of your darkness. Do you want to go down to the pits of yourself all alone? Not much. What if an actor could do it for you? Isn’t that why they are called actors? They act for you. You sacrifice them to action. And this sacrifice is a mode of deepest intimacy of you with your own life. Within it you watch [yourself] act out the present or possible organization of your nature. You can be aware of your own awareness of this nature as you never are at the moment of experience. The actor, by reiterating you, sacrifices a moment of his own life in order to give you a story of yours.”