“There is some realm where feelings become birds and dark sky, and spirit is more solid than stone.”

“Nothing can be more limiting to the imagination than only writing about what you know”

“He could never forgive her for "cheating" on his father. His words, not hers. A child's word. "Selfish bitch," he'd called her once, he who knew nothing of selfishness or bitchery, no more than he knew of selflessness or whatever the opposite of bitchery was (sophrosyne?), knew only his own colossal ego, too self-centered even to understand why he couldn't simply dismiss her as evil and forget it. Sweet Christ how she hated him! But no. No more than she hated his father. It was past that. Caught in impossibilities, but knowing, at least, why she hated the part of herself she hated and why she could not escape, ever, for all the grinning cow-catchers and whistling boats and twinkling propellers in Christendom. Ah, Christendom! she thought.”

“He could forget all these people, just like that, become fond again of strangers and leave them too.”

“Don’t be fooled by clever hands, sir” the Sunlight Man said. He’d be lying with the back of his head on his hands, as he always lay. “Entertainment’s all very well, but the world is serious. It’s exceedingly amusing, when you think about it: nothing in life is as startling or shocking or mysterious as a good magician’s trick. That’s what makes stagecraft deadly. Listen closely, friend. You see great marvels performed on the stage - the lady sawed in half, the fat man supported by empty air, the Hindu vanishing with the folding of a cloth - and the subtlest of poisons drifts into your brain: you think the earth dead because the sky is full of spirits, you think the hall drab because the stage is adazzle with dimestore gilt. So King Lear rages, and the audience grows meek, and tomorrow, in the gray of old groceries, the housewife will weep for Cordelia and despair for herself. They weren’t fools, those old sages who called all art the Devil’s work. It eats the soul.”

“All order, I've come to understand, is theoretical, unreal — a harmless, sensible, smiling mask men slide between the two great, dark realities, the self and the world — two snake pits.”

“The best way a writer can find to keep himself going is to live off his (or her) spouse. The trouble is that, psychologically at least, it’s hard. Our culture teaches none of its false lessons more carefully than that one should never be dependent. Hence the novice or still unsuccessful writer, who has enough trouble believing in himself, has the added burden of shame. It’s hard to be a good writer and a guilty person; a lack of self-respect creeps into one’s prose.”