“To be interested in something is to be involved in what is essentially a stressful relationship with that thing, to suffer anxiety on its behalf.”

“Anxiety and anticipation, I was to learn, are the essential ingredients in suffering from pain, as opposed to feeling pain pure and simple.”

“No relationship is without its difficulties and this is certainly true when one or both of the persons involved has an autistic spectrum disorder. Even so, I believe what is truly essential to the success of any relationship is not so much compatibility, but love. When you love someone, virtually anything is possible.”

“Knowing that internal stress could cause failure on the exam merely set up internal stress about the prospect of internal stress. There must be some other way to deal with the knowledge of the disastrous consequences fear and stress could bring about. Some answer or trick of the will: the ability not to think about it. What if everyone knew this trick but Claude Sylvanshine? … What if there was something essentially wrong with Claude Sylvanshine that wasn’t wrong with other people?”

“That’s the duty of the old, to be anxious on behalf of the young. And the duty of the young is to scorn the anxiety of the old.”

“What interests me is to set up what you might call the rapport de grand écart - the most unexpected relationship possible between the things I want to speak about, because there is a certain difficulty in establishing relationships in just that way, and in that difficulty there is an interest, and in that interest there is a certain tension and for me that tension is a lot more important than the stable equilibrium of harmony, which doesn't interest me at all. Reality must be torn apart in every sense of the word. What people forget is that everything is unique. Nature never produces the same thing twice. Hence my stress on seeking the rapport de grand écart: a small head on a large body; a large head on a small body. I want to draw the mind in the direction it's not used to and wake it up. I want to help the viewer discover something he wouldn't have discovered without me. That's why I stress the dissimilarity, for example, between the left eye and the right eye. A painter shouldn't make them so similar. They're just not that way. So my purpose is to set things in movement, to provoke this movement by contradictory tensions, opposing forces, and in that tension or opposition, to find the moment which seems the most interesting to me.”