“As morally troubling and politically charged as the issue of inequality has become, it's not likely to cause a populist revolt. Most Americans still have a generally positive view of the wealthy and, rightly or wrongly, believe they too can make it to Richistan someday.”

“Well, I'm not here to impinge on anybody else's lifestyle. If I'm in a place where I know I'm going to harm somebody's health or somebody asks me to please not smoke, I just go outside and smoke. But I do resent the way the nonsmoking mentality has been imposed on the smoking minority. Because, first of all, in a democracy, minorities do have rights. And, second, the whole pitch about smoking has gone from being a health issue to a moral issue, and when they reduce something to a moral issue, it has no place in any kind of legislation, as far as I'm concerned.”

“When religion and politics travel in the same cart, the riders believe nothing can stand in their way. Their movements become headlong - faster and faster and faster. They put aside all thoughts of obstacles and forget the precipice does not show itself to the man in a blind rush until it's too late.”

“It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence the world. Today, the idea has largely been dismissed, as it must in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso-facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power.”

“Mankind without truth, without God-given morals...has strength...can think...can feel things emotionally–but if he isn't given a good, solid standard for right and wrong, then there's nothing to keep him from using strength and reason and feelings in selfish...even destructive ways...We wonder why people do such evil things, why there's so much violence in the world, why people rob and cheat and betray each other. But when we erase truth from our thinking and say there's no right or wrong except for what each person thinks is right or wrong, well, we get the world we deserve...when there's no truth that applies to everyone, then there's no way to argue for the rightness or wrongness of anything...”

“The eternal raison d'etre of America is in its being the "sweet land of liberty". Should a land so dreamed into existence, so degenerate through material prosperity as to become what its European critics, with too much justice, have scornfully renamed it the "Land of the Dollar" - such a development will be one of the sorriest conclusions of history, and the most colossal disillusionment that has ever happened to mankind.”

“But that there is a simple relation between literary and other fictions seems, if one attends to it, more obvious than has appeared. If we think first of modern fictions, it can hardly be an accident that ever since Nietzsche generalized and developed the Kantian insights, literature has increasingly asserted its right to an arbitrary and private choice of fictional norms, just as historiography has become a discipline more devious and dubious because of our recognition that its methods depend to an unsuspected degree on myths and fictions. After Nietzsche it was possible to say, as Stevens did, that 'the final belief must be in a fiction.' This poet, to whom the whole question was of perpetual interest, saw that to think in this way was to postpone the End--when the fiction might be said to coincide with reality--for ever; to make of it a fiction, an imaginary moment when 'at last' the world of fact and the mundo of fiction shall be one. Such a fiction--the last section of Notes toward a Supreme Fiction is, appropriately, the place where Stevens gives it his fullest attention--such a fiction of the end is like infinity plus one and imaginary numbers in mathematics, something we know does not exist, but which helps us to make sense of and to move in the world. Mundo is itself such a fiction. I think Stevens, who certainly thought we have to make our sense out of whatever materials we find to hand, borrowed it from Ortega. His general doctrine of fictions he took from Vaihinger, from Nietzsche, perhaps also from American pragmatism.”