“The enormity of problems like hunger and social injustice can certainly motivate us to act. We can be convinced logically of the need for intervention and change. But it is the story of one individual that ultimately makes the difference—by offeringliving proof.”

“The ability to see our lives as stories and share those stories with others is at the core of what it means to be human. We use stories to order and make sense of our lives, to define who we are, even to construct our realities: this happened, then this happened, then this. I was, I am, I will be. We recount our dreams, narrate our days and organize our memories into stories we tell others and ourselves. As natural-born storytellers, we respond to others’ stories because they are deeply, intimately familiar.”

“Our business in living is to become fluent with the life we are living, and art can help this.”

“Whereas what we need is to fumble around in the darkness, because that's where our lives (not necessarily all of the time, but at least some of the time, and particularly when life gets problematical for us) takes place.”

“Before leaving the earth altogether, let us as: How does Music stand with respect to its instruments, their pitches, the scales, modes and rows, repeating themselves from octave to octave, the chords, harmonies, and tonalities, the beats, meters, and rhythms, the degrees of amplitude (pianissimo, piano, mezzo-piano, mezzo-forte, forte, fortissimo)? Though the majority go each day to the schools where these matters are taught, they read when time permits of Cape Canaveral, Ghana, and Seoul. And they’ve heard tell of the music synthesizer, magnetic tape. They take for granted the dials on radios and television sets. A tardy art, the art of Music. And why so slow? Is it because, once having learned a notation of pitches and durations, musicians will not give up their Greek? Children have been modern artists for years now. What is it about Music that sends not only the young but adults too as far into the past as they can conveniently go? The module? But our choices never reached around the globe, and in our laziness, when we changed over to the twelve-tone system, we just took the pitches of the previous music as though we were moving into a furnished apartment and had no time to even take the pictures off the walls. What excuse? That nowadays things are happening so quickly that we become thoughtless? Or were we clairvoyant and knew ahead of time that the need for furniture of any kind would disappear? (Whatever you place there in front of you sits established in the air.) The thing that was irrelevant to the structures we formerly made, and this was what kept us breathing, was what took place within them. Their emptiness we took for what it was – a place where anything could happen. That was one of the reasons we were able when circumstances became inviting (chances in consciousness, etc.) to go outside, where breathing is child’s play: no walls, not even the glass ones which, though we could see through them, killed the birds while they were flying.”

“There is nothing we need to do that isn't dangerous.”

“Syntax, like government, can only be obeyed. It istherefore of no use except when youhave something particular to commandsuch as: Go buy me a bunch of carrots.”