“As always when he worked with this much concentration he began to feel a sense of introverting pressure. There was no way out once he was in, no genuine rest, no one to talk to who was capable of understanding the complexity (simplicity) of the problem or the approaches to a tentative solution. There came a time in every prolonged effort when he had a moment of near panic, or "terror in a lonely place," the original semantic content of the word. The lonely place was his own mind. As a mathematician he was free from subjection to reality, free to impose his ideas and designs on his own test environment. The only valid standard for his work, its critical point (zero or infinity), was the beauty it possessed, the deft strength of his mathematical reasoning. THe work's ultimate value was simply what it revealed about the nature of his intellect. What was at stake, in effect, was his own principle of intelligence or individual consciousness; his identity, in short. This was the infalling trap, the source of art's private involvement with obsession and despair, neither more nor less than the artist's self-containment, a mental state that led to storms of overwork and extended stretches of depression, that brought on indifference to life and at times the need to regurgitate it, to seek the level of expelled matter. Of course, the sense at the end of a serious effort, if the end is reached successfully, is one of lyrical exhilaration. There is air to breathe and a place to stand. The work gradually reveals its attachment to the charged particles of other minds, men now historical, the rediscovered dead; to the main structure of mathematical thought; perhaps even to reality itself, the so-called sum of things. It is possible to stand in time's pinewood dust and admire one's own veronicas and pavanes.”

“The man who works recognizes his own product in the world that has actually been transformed by his work. He recognizes himself in it, he sees his own human reality in it he discovers and reveals to others the objective reality of his humanity of the originally abstract and purely subjective idea he has of himself”

“Man—every man—is an end in himself, not a means to the ends of others; he must live for his own sake, neither sacrificing himself to others nor sacrificing others to himself; he must work for his rational self-interest, with the achievement of his own happiness as the highest moral purpose of his life.”

“There were times when [he] allowed himself to see clearly that he would end his working life, that was to say, his conscious thinking life, in this task, that all his thoughts would have been another man's thoughts, all his work another man's work. And then he thought it did not perhaps matter so greatly... It was a pleasant subordination, if he was a subordinate.”

“He saw a picture in his mind of a terrible piling up of the dead. It came from his contemplation of the church, but it had its own clarity: the row on row, the deep rotting earth hollowed out to hold them, while the efforts of the living, with all their works and wars and great buildings, were no more than the beat of a wing against the weight of time.”

“The humorous self-sufficiency of genius is the unity of a modest resignation in the world and a proud elevation above the world: of being an unnecessary superfluity and a precious ornament. If the genius is an artist, then he accomplishes his work of art, but neither he nor his work of art has a telos outside him. Or he is an author, who abolishes every teleological relation to his environment and humorously defines himself as a poet. Lyrical art has certainly no telos outside it: and whether a man writes a short lyric or folios, it makes no difference to the quality of the nature of his work. The lyrical author is only concerned with his production, enjoys the pleasure of producing, often perhaps only after pain and effort; but he has nothing to do with others, he does not write in order that: in order to enlighten men or in order to help them along the right road, in order to bring about something; in short, he does not write in order that. The same is true of every genius. No genius has an in order that; the Apostle has absolutely and paradoxically, an in order that.”