“Well chaps first I'd like to say a few vile things more or less at random, not only because it is expected of me but also because I enjoy it.”

“—What do the children say?—There's a thing the children say.—What do the children say?—They say: Will you always love me?—Always.—Will you always remember me?—Always.—Will you remember me a year from now?—Yes, I will.—Will you remember me two years from now?—Yes, I will.—Will you remember me five years from now?—Yes, I will.—Knock knock.—Who's there?—You see?("Great Days," Forty Stories)”

“But have you noticed the slight curl at the end of Sam II's mouth, when he looks at you? It means that he didn't want you to name him Sam II, for one thing, and for two other things it means that he has a sawed-off in his left pants leg, and a baling hook in his right pants leg, and is ready to kill you with either of them, given the opportunity. The father is taken aback. What he usually says, in such a confrontation, is "I changed your diapers for you, little snot." This is not the right thing to say. First, it is not true (mothers change nine diapers out of ten), and second it reminds Sam II of what he is mad about. He is mad about being small when you were big, but no, that's not it, he is mad about being helpless when you were powerful, but no, not that either, he is mad about being contingent when you were necessary, not quite it, he is insane because when he loved you, you didn't notice.”

“--Why are we fighting them?--They're mad. We're sane.--How do we know?--That we're sane?--Yes.--Am I sane?--To all appearances.--And you, do you consider yourself sane?--I do.--Well, there you have it.--But don't they also consider themselves sane?--I think they know. Deep down. That they're not sane.--How must that make them feel?--Terrible, I should think. They must fight ever more fiercely, in order to deny what they know to be true. That they are not sane.”

“The President looked out of his window. He was not very happy. “I worry about Bill, Hubert, Henry, Kevin, Edward, Clem, Dan and their lover, Snow White. I sense that all is not well with them. Now, looking out over this green lawn, and these fine rosebushes, and into the night and the yellow buildings, and the falling Dow Jones Index and the screams of the poor, I am concerned. I have many important things to worry about, but I worry about Bill and the boys too. Because I am the President. Finally. the President of the whole fucking country. And they are Americans, Bill, Hubert, Henry, Kevin, Edward, Clem, Dan and Snow White. They are Americans. My Americans.”

“I believe that because I had obtained a wife who was made up of wife-signs (beauty, charm, softness, perfume, cookery) I had found love.”

“INTERVIEWERWhy don’t you write tragedy?BARTHELMEI’m fated to deal in mixtures, slumgullions, which preclude tragedy, which require a pure line. It’s a habit of mind, a perversity. Tom Hess used to tell a story, maybe from Lewis Carroll, I don’t remember, about an enraged mob storming the palace shouting “More taxes! Less bread!” As soon as I hear a proposition I immediately consider its opposite. A double-minded man—makes for mixtures.INTERVIEWERApparently the Yiddish theater, to which Kafka was very addicted, includes as a typical bit of comedy two clowns, more or less identical, who appear even in sad scenes—the parting of two lovers, for instance—and behave comically as the audience is weeping. This shows up especially in The Castle.BARTHELMEThe assistants.INTERVIEWERAnd the audience doesn’t know what to do.BARTHELMEThe confusing signals, the impurity of the signal, gives you verisimilitude. As when you attend a funeral and notice, against your will, that it’s being poorly done. [...] I think of the line from the German writer Heimito von Doderer: “At first you break windows. Then you become a window yourself.”