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“You fell in love with her when she couldn't love herself. You loved her wide brown eyes that resembled the color of pure honey, and her big plump lips that were perfect enough to kiss. You loved her voice when she called your name because she couldn't fall asleep, and the silence of it all when she was long gone in her dreams. You taught her to love herself; head, toe, and everything in between. Her body, her mind and soul. Let nothing intervene.”

“YOU felons on trial in courts; You convicts in prison-cells—you sentenced assassins, chain’d and hand-cuff’d with iron; Who am I, too, that I am not on trial, or in prison? Me, ruthless and devilish as any, that my wrists are not chain’d with iron, or my ankles with iron? You prostitutes flaunting over the trottoirs, or obscene in your rooms, Who am I, that I should call you more obscene than myself? O culpable! I acknowledge—I exposé! (O admirers! praise not me! compliment not me! you make me wince, I see what you do not—I know what you do not.) Inside these breast-bones I lie smutch’d and choked; Beneath this face that appears so impassive, hell’s tides continually run; Lusts and wickedness are acceptable to me; I walk with delinquents with passionate love; I feel I am of them—I belong to those convicts and prostitutes myself, And henceforth I will not deny them—for how can I deny myself?”

“You felt, in spite of all bureaucracy and inefficiency and party strife something that was like the feeling you expected to have and did not have when you made your first communion. It was a feeling of consecration to a duty toward all of the oppressed of the world which would be as difficult and embarrasing to speak about as religious experience and yet it was as authentic as the feeling you had when you heard Bach, or stood in Chartres Cathedral or the Cathedral at León and saw the light coming through the great windows; or when you saw Mantegna and Greco and Brueghel in the Prado. It gave you a part in something that you could believe in wholly and completely and in which you felt an absolute brotherhood with the others who were engaged in it. It was something that you had never known before but that you had experienced now and you gave such importance to it and the reasons for it that you own death seemed of complete unimportance; only a thing to be avoided because it would interfere with the performance of your duty. But the best thing was that there was something you could do about this feeling and this necessity too. You could fight.”

“You felt she'd done a thousand secret things to her eyes. They needed no haze of cigarette smoke to look at you out of sexy and fathomless, but carried their own along with them. New York must have been for her a city of smoke, its streets the courtyards of limbo, its bodies like wraiths. Smoke seemed to be in her voice, in her movements; making her all the more substantial, more there, as if words, glances, small lewdnesses could only become baffled and brought to rest like smoke in her long hair; remain there useless till she released them, accidentally and unknowingly, with a toss of her head.”

“You fight. You fight for what you want. You do not wallow or surrender. The lesson is not in lying down and allowing yourself to be stabbed, child. It's in pushing yourself up and battling back." "You fell down. So? Will you stay there, weeping over skinned knees? Or will you brush off your skirts, adjust your hair, and carry on? Do not relinquish your grasp on hope. It's one of the best weapons anyone possesses.”

“You fight your superficiality, your shallowness, so as to try to come at people without unreal expectations, without an overload of bias or hope or arrogance, as untanklike as you can be, sans cannon and machine guns and steel plating half a foot thick; you come at them unmenacingly on your own ten toes instead of tearing up the turf with your caterpillar treads, take them on with an open mind, as equals, man to man, as we used to say, and yet you never fail to get them wrong. You might as well have the brain of a tank. You get them wrong before you meet them, while you're anticipating meeting them; you get them wrong while you're with them; and then you go home to tell somebody else about the meeting and you get them all wrong again. Since the same generally goes for them with you, the whole thing is really a dazzling illusion. ... The fact remains that getting people right is not what living is all about anyway. It's getting them wrong that is living, getting them wrong and wrong and wrong and then, on careful reconsideration, getting them wrong again. That's how we know we're alive: we're wrong. Maybe the best thing would be to forget being right or wrong about people and just go along for the ride. But if you can do that -- well, lucky you.”

“You figure out how to create opportunities to make music, and then, if you take care of the music, audiences will come around. They also might leave. What matters is the moment: the moment of making music, with and for and among others, and what that offers to those people in that moment. They might never see me again; they might never learn my name. But it might still be something they carry with them.”

“You finally complete your first paper, but even its appearance in a “highly respected” and thick biweekly journal sandwiched between two other equally dull and opaque articles fails to alleviate your growing boredom and disillusionment with a career in physics, a career that once seemed to promise excitement, glamor and importance. Are you going to spend your whole life in a mad, cutthroat ego trip just to see your name in print every six months? Or is the real pleasure in seeing your name referenced in someone else’s useless article?”