“...at seventeen I tried to write poetry confining myself solely to Anglo-Saxon words - don't know if it helped, but it made me more concrete ...”

“I have these guilts about never having read Chaucer but I was talked out of learning Early Anglo-Saxon / Middle English by a friend who had to take it for her Ph.D. They told her to write an essay in Early Anglo-Saxon on any-subject-of-her-own-choosing. “Which is all very well,” she said bitterly, “but the only essay subject you can find enough Early Anglo-Saxon words for is ‘How to Slaughter a Thousand Men in a Mead Hall’.”

“Eric was usually pretty Anglo-Saxon about sex.”

“Alas. What have we done to our good, bawdy, Anglo-Saxon four-letter words? ...We have blunted them so with overuse that they no longer have any real meaning for us. ...When will we be able to redeem our shock words? They have been turned to marshmallows. ...We no longer have anything to cry in time of crisis. 'Help!' we bleat. And no one hears us. 'Help' is another of those four-letter words that don't mean anything any more.”

“Prefer the familiar word to the far-fetched. Prefer the concrete word to the abstract. Prefer the single word to the circumlocution. Prefer the short word to the long. Prefer the Saxon word to the Romance.”

“It’s not the word made flesh we want in writing, in poetry and fiction, but the flesh made word”