“Living apart and at peace with myself,I came to realize more vividly the meaning of the doctrine of acceptance. To refrain from giving advice, to refrain from meddling in the affairs of others, to refrain even though the motives be the highest, from tampering with anothers way of life-so simple, yet so difficult for an active spirit. Hands Off.”

“It is our destiny to live with the wrong as well as the right kind of citizens, and to learn from them, the wrong-minded ones, as much or more as from others. If we have not yet succeeded -after how many centuries?- in eliminating from life the elements which plague us perhaps we need to question life more closely. Perhaps our refusal to face reality is the only ill we suffer from, and all the rest but illusion and delusion. (p.26)”

“...the art of living involves the act of creation. The work of art is nothing. It is only the tangible, visible evidence of a way of life, which, if it is not crazy is certainly different from the accepted way of life... For the artist to attach himself to his work, or identify himself with it, is suicidal.”

“...God knows, when spring comes to Paris the humbles mortal alive must feel that he dwells in paradise....it [is] the the intimacy with which his eye rests upon the scene. It [is] his Paris. A man does not need to be rich, nor even a citizen, to feel this way about Paris. Paris is filled with poor people - the proudest and filthiest lot of beggars that ever walked the earth... And yet they give the illusion of being at home. It is that which distinguishes the Parisian from all other metropolitan souls. When I think of New York I have a very different feeling. New York makes even a rich man feel his unimportance. New York is cold, glisttering, malign. The buildings dominate. There is a sort of atomic frenzy to the activity going on; the more furious the pace, the more diminished the spirit...Nobody knows what it's all about. Nobody directs the energy. Stupendous. Bizarre. Baffling. A tremendous reactive urge, but absolutely uncoordinated.”

“The ovarian world is the product of a life rhythm. The moment a child is born it becomes part of a world in which there is not only the life rhythm but the death rhythm. The frantic desire to live, to live at any cost, is not a result of the life rhythm in us, but of the death rhythm. There is not only no need to keep alive at any price, but, if life is undesirable, it is absolutely wrong. This keeping oneself alive, out of a blind urge to defeat death, is in itself a means of sowing death. Every one who has not fully accepted life, who is not incrementing life, is helping to fill the world with death. To make the simplest gesture with the hand can convey the utmost sense of life; a word spoken with the whole being can give life. Activity in itself means nothing: it is often a sign of death.”

“You must be life for me to the very end," so he writes. "That is the only way in which to sustain my idea of you. Because you have gotten, as you see, tied up with something so vital to me, I do not think I shall ever shake you off. Nor do I wish to. I want you to live more vitally every day, as I am dead. That is why, when I speak of you to others, I am just a bit ashamed. It's hard to talk of one's self so intimately”

“Writing, like life itself, is a voyage of discovery. The adventure is a metaphysical one: it is a way of approaching life indirectly, of acquiring a total rather than a partial view of the universe. The writer lives between the upper and lower worlds: he takes the path in order eventually to become that path himself. ”I began in absolute chaos and darkness, in a bog or swamp of ideas and emotions and experiences. Even now I do not consider myself a writer, in the ordinary sense of the word. I am a man telling the story of his life, a process which appears more and more inexhaustible as I go on. Like the world-evolution, it is endless. It is a turning inside out, a voyaging through X dimensions, with the result that somewhere along the way one discovers that what one has to tell is not nearly so important as the telling itself. It is this quality about all art which gives it a metaphysical hue, which lifts it out of time and space and centers or integrates it to the whole cosmic process. It is this about art which is ‘therapeutic’: significance, purposefulness, infinitude. ”From the very beginning almost I was deeply aware that there is no goal. I never hope to embrace the whole, but merely to give in each separate fragment, each work, the feeling of the whole as I go on, because I am digging deeper and deeper into life, digging deeper and deeper into past and future. With the endless burrowing a certitude develops which is greater than faith or belief. I become more and more indifferent to my fate, as writer, and more and more certain of my destiny as a man.”