“Everybody has that feeling when they look at a work of art and it's right, that sudden familiarity, a sort of...recognition, as though they were creating it themselves, as though it were being created through them while they look at it or listen to it...”

“That was Youth with its reckless exuberance when all things were possible pursued by Age where we are now, looking back at what we destroyed, what we tore away from that self who could do more, and its work that's become my enemy because that's what I can tell you about, that Youth who could do anything. ”

“Why do you treat me as they do, as though I were exactly what I want to be. Why do we treat people that way?”

“He took off his hat and shook it (having hurried home as though his own coronation were waiting), and moved now with the slow deliberation of lonely people who have time for every meager requirement of their lives.”

“How ... how fragile situations are. But not tenuous. Delicate, but not flimsy, not indulgent. Delicate, that's why they keep breaking, they must break and you must get the pieces together and show it before it breaks again, or put them aside for a moment when something else breaks and turn to that, and all this keeps going on. That's why most writing now, if you read it they go on one two three four and tell you what happened like newspaper accounts, no adjectives, no long sentences, no tricks they pretend, and they finally believe that they really believe that the way they saw it is the way it is ... it never takes your breath away, telling you things you already know, laying everything out flat, as though the terms and the time, and the nature and the movement of everything were secrets of the same magnitude. They write for people who read with the surface of their minds, people with reading habits that make the smallest demands on them, people brought up reading for facts, who know what's going to come next and want to know what's coming next, and get angry at surprises. Clarity's essential, and detail, no fake mysticism, the facts are bad enough. But we're embarrassed for people who tell too much, and tell it without surprise. How does he know what happened? unless it's one unshaven man alone in a boat, changing I to he, and how often do you get a man alone in a boat, in all this ... all this ... Listen, there are so many delicate fixtures, moving toward you, you'll see. Like a man going into a dark room, holding his hands down guarding his parts for fear of a table corner, and ... Why, all this around us is for people who can keep their balance only in the light, where they move as though nothing were fragile, nothing tempered by possibility, and all of a sudden bang! something breaks. Then you have to stop and put the pieces together again. But you never can put them back together quite the same way. You stop when you can and expose things, and leave them within reach, and others come on by themselves, and they break, and even then you may put the pieces aside just out of reach until you can bring them back and show them, put together slightly different, maybe a little more enduring, until you've broken it and picked up the pieces enough times, and you have the whole thing in all its dimensions. But the discipline, the detail, it's just ... sometimes the accumulation is too much to bear.”

“The ship's surgeon was a spotty unshaven little man whose clothes, arrayed with smudges, drippings, and cigarette burns, were held about him by an extensive network of knotted string, The buttons down the front of those duck trousers had originally been made, with all of false economy's ingenious drear deception, of coated cardboard. After many launderings they persisted as a row of gray stumps posted along the gaping portals of his fly. Though a boutoniere sometimes appeared through some vacancy in his shirt-front, its petals, too, proved to be of paper, and he looked like the kind of man who scrapes foam from the top of a glass of beer with the spine of a dirty pocket comb, and cleans his nails at table with the tines of his salad fork, which things, indeed, he did. He diagnosed Camilla's difficulty as indigestion, and locked himself in his cabin. that was the morning.”

“That's what it is, this arrogance, in this flamenco music this same arrogance of suffering, listen. The strength of it's what's so overpowering, the self-sufficiency that's so delicate and tender without an instant of sentimentality. With infinite pity, but refusing pity. It's a precision of suffering, he went on, abruptly working his hand in the air as though to shape it there, --the tremendous tension of violence all enclosed in a framework...in a pattern that doesn't pretend to any other level but its own, do you know what I mean? He barely glanced at her to see if she did.--It's the privacy, the exquisite sense of privacy about it, he said speaking more rapidly, --it's the sense of privacy that most popular expressions of suffering don't have, don't dare have, that's what makes it arrogant.”