“At one edge of the base, pressed between the fenceline and the sea, shimmered the pale archways and columns, the madrone and wind-shaped cypresses of the clifftop campus of College of the Surf. Against the somber military blankness at its back, here was a lively beachhead of drugs, sex, and rock and roll, the strains of subversive music day and night, accompanied by tambourines and harmonicas, reaching like fog through the fence, up the dry gulches and past the sentinel antennas, the white dishes and masts, the steel equipment sheds, finding the ears of sentries attentuated but ominous, like hostile-native sounds in a movie about white men fighting savage tribes.”

“Shit now is the color white folks are afraid of. Shit is the presence of death, not some abstract-arty character with a scythe but the stiff and rotting corpse inside the whiteman’s warm and private own asshole, which is getting pretty intimate. That’s what the toilet is for. You see many brown toilets? Nope, toilet’s the color of gravestones, classical columns of mausoleums, that white emblems the very emblem of Odorless and Official death.”

“But it is a curve each of them feels, unmistakably. It is the parabola. They must have guessed, once or twice—guessed and refused to believe—that everything, always, collectively, had been moving toward that purified shape latent in the sky, that shape of no surprise, no second chance, no return. Yet they do move forever under it, reserved for its own black-and-white bad news certainly as if it were the rainbow, and they its children. . . .”

“This advice has been given often and more compellingly elsewhere, but my specific piece of wrong procedure back then was, incredibly, to browse through the thesaurus and note words that sounded cool, hip, or likely to produce an effect, usually that of making me look good, without then taking the trouble to go and find out in the dictionary what they meant”

“Odd, yes, here in the capital of eternal youth, endless summer and all, that fear should be running the town again as in days of old, like the Hollywood blacklist you don't remember and the Watts rioting you do - it spreads, like blood in a swimming pool, till it occupies all the volume of the day. And then maybe some playful soul shows up with a bucketful of piranhas, dumps them in the pool, and right away they can taste the blood. They swim around looking for what's bleeding, but they don't find anything, all of them getting more and more crazy, till the craziness reaches a point. Which is when they begin to feed on each other.”

“Displaced Person’s SongIf you see a train this evening,Far away, against the sky,Lie down in your woolen blanket,Sleep and let the train go by.Trains have called us, every midnight,From a thousand miles away,Trains that pass through empty cities,Trains that have no place to stay.No one drives the locomotive,No one tends the staring light,Trains have never needed riders,Trains belong to bitter night.Railway stations stand deserted,Rights-of-way lie clear and cold,What we left them, trains inherit,Trains go on, and we grow old.Let them cry like cheated lovers,Let their cries find only wind,Trains are meant for night and ruin,And we are meant for song and sin.”

“The Santa Monica Freeway is traditionally the scene of every form of automotive folly known to man. It is not white and well-bred like the San Diego, nor as treacherously engineered as the Pasadena, nor quite as ghetto-suicidal as the Harbor. No, one hesitates to say it, but the Santa Monica is a freeway for freaks.”