“Grief and rage--you need to contain that, to put a frame around it, where it can play itself out without you or your kin having to die. There is a theory that watching unbearable stories about other people lost in grief and rage is good for you--may cleanse you of your darkness. Do you want to go down to the pits of yourself all alone? Not much. What if an actor could do it for you? Isn't that why they are called actors? They act for you. You sacrifice them to action. And this sacrifice is a mode of deepest intimacy of you with your own life. Within it you watch [yourself] act out the present or possible organization of your nature. You can be aware of your own awareness of this nature as you never are at the moment of experience. The actor, by reiterating you, sacrifices a moment of his own life in order to give you a story of yours.”

“Grief and rage--you need to contain that, to put a frame around it, where it can play itself out without you or your kin having to die. There is a theory that watching unbearable stories about other people lost in grief and rage is good for you--may cleanse you of your darkness. Do you want to go down to the pits of yourself all alone? Not much. What if an actor could do it for you? Isn't that why they are called actors? They act for you. You sacrifice them to action. And this sacrifice is a mode of deepest intimacy of you with your own life. Within it you watch [yourself] act out the present or possible organization of your nature. You can be aware of your own awareness of this nature as you never are at the moment of experience. The actor, by reiterating you, sacrifices a moment of his own life in order to give you a story of yours.”

“Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.”

“And the reason he cannot bear her dying is not the loss of her (which is the future) but that dying puts the two of them (now) into this nakedness together that is unforgivable.”

“Madness and witchery as well as bestiality are conditions commonly associated with the use of the female voice in public.”

“To be a prophet, Knox emphasizes, requires living in and looking at the present, at what is really going on around you.”

“Like honey is the sleep of the just.”

“The story concerns the reason why we love to fall in love. Beauty spins and the mind moves. To catch beauty would be to understand how the impertinent stability in vertigo is possible. But no, delight need not reach so far. To be running breathlessly, but not yet arrived, is itself delightful, a suspended moment of living hope.”

“...Heracles was strangely silent. What is he thinking? / Geryon wondered. / Geryon watched prehistoric rocks move past the car and thought about thoughts. / Even when they were lovers / he had never known what Herakles was thinking. Once in a while he would say, / Penny for your thoughts! / and it always turned out to be some odd thing like a bumper sticker or a dish / he'd eaten in a Chinese restaurant years ago. / What Geryon was thinking Herakles never asked. In the space between them / developed a dangerous cloud.”

“XXIV. And kneeling at the edge of the transparent sea I shall shape for myself a new heart from salt and mud”

“[Short Talk on Sylvia Plath] Did you see her mother on television? She said plain, burned things. She said I thought it an excellent poem but it hurt me. She did not say jungle fear. She did not say jungle hatred wild jungle weeping chop it back chop it. She said self-government she said end of the road. She did not say humming in the middle of the air what you came for chop.”

“That night we made love "the real way" which we had not yet attemptedalthough married six months.Big mystery. No one knew where to put their leg and to this day I'm not surewe got it right.He seemed happy. You're like Venice he said beautifully.Early next dayI wrote a short talk ("On Defloration") which he stole and had publishedin a small quarterly magazine.Overall this was a characteristic interaction between us.Or should I say ideal.Neither of us had ever seen Venice.”