“As I repeatedly went forth with him and began to understand the ignorance and contradictions and language difficulties with which he contended, and the doubtful sources of his information and the seemingly bottomless history and darkness out of which the dishes of New York emerge, the deeper grew my suspicion that his work finally consisted of minting or perpetuating and in any event circulating misconceptions about his subject and in this way adding to the endless perplexity of the world.”

“Soon after I began working for the Professor, I realized that he talked about numbers whenever he was unsure of what to say or do. Numbers were also his way of reaching out to the world. They were safe, a source of comfort.”

“Holden went to his bungalow and began to understand that he was not alone in the world, and also that he was afraid for the sake of another, -- which is the most soul-satisfying fear known to man.”

“This is an orchestration for an event. For a dance in fact. The participants will be apprised of their roles at the proper time. For now it is enough that they have arrived. As the dance is the thing with which we are concerned and contains complete within itself its own arrangement and history and finale there is no necessity that the dancers contain these things within themselves as well. In any event the history of all is not the history of each nor indeed the sum of those histories and none here can finally comprehend the reason for his presence for he has no way of knowing even in what the event consists. In fact, were he to know he might well absent himself and you can see that that cannot be any part of the plan if plan there be.”

“The intellectual context in which Eliot began work on the "long poem" that was to become The Waste Land has much to tell us about formal aspects of his poem. Certainly it reveals something of the problem any artist would have had in finding a perspective on the twentieth century. Emphasis on context, however, should not be taken as an assertion of specific influence. It should not be assumed that Eliot was consciously trying to adjust his presentation of reality to conform with the presentations in science or in the visual arts or even that he was greatly influenced by any specific scientific theory or any aesthetic manifesto. Without a doubt, he was aware of what was happening in science, in philosophy, and in the other arts. And without a doubt, he created structures in art which show his sensitivity to his age and which are formally analogous to structures created by other artists. He arrived, however, not by following anyone but by trying to find his own way. He spent most of the decade before writing The Waste Land as a close student of philosophy, comparative religion, and Buddhism, and his understanding of these subjects is part of the basic context of his art.”

“The tragedy of her father's absence had never actually been an acutely tragic event for her. As she grew up and came to understand the world, he was a part of it. An already dead part. His absence was the landscape of her family. Increasingly, as the years went on, she didn't really know what she was missing, but that didn't stop her from missing it. She fixated on him. She prayed to him. She attempted to research him, found obscure publications of his in scientific journals. The language was so formal, she could barely understand it. But she told herself, This is familiar. This is mine, bone of my bone, flesh of my flesh. She thought, There was a feeling he had, when he wrote this, when he was alive. He communicated it to me, even though everyone who reads this article only gets a lot of information about this scientific test subject, and his reaction to all these oils. She dreamed her father was still out there [ . . . though] her belief that her father was still living did not stop her from telling stories about his death.”