I was immediately smitten with an attraction to this culture, not in the sense of high culture but of the basic way people behaved towards one another.

After the navy, I transferred to Harvard and finished there. I was there the spring term of 1951 and I stayed through the summer term and a whole other year, so I was able to do two years in a little less than a year and a half.

And I finished college because I thought how much it would upset my parents if I didn't.

I was immediately smitten with an attraction to this culture, not in the sense of high culture but of the basic way people behaved towards one another.

My idea was to go to Vienna to study conducting and perhaps play in an orchestra first, so I thought before I got to Vienna I could do with a little training in Paris.

I think situations are more important than plot and character.

Well, I had this little notion - I started writing when I was eleven, writing poetry. I was passionately addicted to it; it was my great refuge through adolescence.

I left Princeton, but I graduated Harvard, in 1952.

My mother could never understand why I didn't write a thriller, which I've finally done.

It's true, I had an extremely delicious life, but that was my life at home, and perhaps because I was only a child, or for whatever reasons, I found the company of others, especially other boys, quite terrifying and upsetting.

When Niki and I moved to Paris, there was also the challenge of Paris, an extremely daunting city.

Music had been my first love among the arts, and I was fascinated by it, as I still am.

My dream, I remember, when I went to boarding school, was to have a study all my own, a little nook someplace where nobody could get at me - nobody, like the football coach.

It has always been something I could do, and it may seem odd that in my case I seem to create an interesting narrative and frustrate the reader's opportunities to follow it at every step.

I thought Cheever was magnificent and that if I could write like him that would be the best I could do. And then I realized that what I really wanted to write had nothing to do with what he was doing.

I love teaching.

I graduated in 1952 and went to Europe, with Niki and our first child Laura, who was then a year old.

Well, my relationship to America at the time I left was very limited.

And then, when I left Princeton in the middle of my sophomore year, I went into the navy.

I'd been brought up on the Upper East Side in a WASP society, which was death on crutches.

What I wanted to do and what I needed to do was something entirely different, and through reading Roussel I learned that I could do what I wanted all on my own and that I didn't have to rely on what had actually happened in my somewhat limited life and reading.

What I said about John was that he liberated me from my anxieties about writing in a correct, acceptable way.

My Life in CIA is the first time that I've ever written a story in my own name.

I was stationed in Norfolk, Virginia, for a while, about which the less said the better, and then I was in the Mediterranean, about which the more said the better.

I also had this mistaken dream, fantasy really - perhaps because I'm good at languages - of being able in both Italy and France to become someone else through my fluency in the language.

My next project is to get back to that. Actually, to learn how to write poetry. I'm not kidding.

Well, the great thing for me about poetry is that in good poems the dislocation of words, that is to say, the distance between what they say they're saying and what they are actually saying is at its greatest.

A man is too apt to forget that in this world he cannot have everything. A choice is all that is left him.

Translation is the paradigm, the exemplar of all writing. It is translation that demonstrates most vividly the yearning for transformation that underlies every act involving speech, that supremely human gift.

Syntax and vocabulary are overwhelming constraints --the rules that run us. Language is using us to talk --we think we're using the language, but language is doing the thinking, we're its slavish agents.

I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

I don't have space to enter into the examples or the history of this, so I'm left with having to make the bold statement that culture is extinct.

We need to have a culture that says 'the less energy you can use to be comfortable, the better off you are and the better you should feel about yourself'.

Concerning culture as a process, one would say that it means learning a great many things and then forgetting them; and the forgetting is as necessary as the learning.

No doubt Western civilization has in the past been full of wars and revolutions, and the national elements in our culture, even when they were ignored, always provided an unconscious driving force of passion and aggressive self-assertion.

The things that I draw on, and the world that I feel part of, aren't particularly youth culture.

I recommend the same therapies for all humans with HIV. There is no reason to believe that physiologic responses to therapy will vary across lines of class, culture, race or nationality.

Towns are suffering from all these things, we should unite until we are all satisfied, man cannot be killing each other as if we were animals, as if we had no culture; that is a lack of culture.

You're a Catholic in Italy when you're born, it's unthinkable to stop being Catholic. You just take the rules a lot more seriously, because it pervades your culture.

Sex and drugs were simply not discussed in our culture at that time.

You have to open your mind. I like the ability to express myself in a deep way. It's the closest music to our humanity - it's like a folk music that rises up out of a culture.

Lives have been altered in fundamental ways, and later, after they acquire a more complete understanding of what goals are actually attainable, many are left facing a lot of pain and frustration. And yet, there's no culture of complaint.

I've always been interested in the relationship between total external surround, culture, the political matrix, technology, etc., and the internal human consciousness.

Writing is about culture and should be about everything. That's what makes it what it is.

And there are so many people in the third world suffering so horribly right now, and we are so focused on ourselves and our culture that a lot of things are showing up in our culture that are making it impossible for us to focus on others. We're so self-focused.

One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

Mr. Speaker, genocide is the most potent of all crimes against humanity because it is an effort to systematically wipe out a people and a culture as well as individual lives.

When I go to Japan and do shows I play for 1,000 to 1,500 people. I like a lot about Japan. Their popular culture and mass commercialization appeals to me.