William Saroyan: Thing

"The Daring Young Man on the Flying Trapeze"
The Daring Young Man on the Flying Trapeze (1934)
Context: Then swiftly, neatly, with the grace of the young man on the trapeze, he was gone from his body.
For an eternal moment he was still all things at once: the bird, the fish, the rodent, the reptile, and man. An ocean of print undulated endlessly and darkly before him. The city burned. The herded crowd rioted. The earth circled away, and knowing that he did so, he turned his lost face to the empty sky and became dreamless, unalive, perfect.

Obituaries (1979)

The Human Comedy (1943)
Context: Death is not an easy thing for anyone to understand, least of all a child, but every life shall one day end. But as long as we are alive, as long as we are together, as long as two of us are left, and remember him, nothing in the world can take him from us. His body can be taken, but not him. You shall know your father better as you grow and know yourself better. He is not dead, because you are alive. Time and accident, illness and weariness took his body, but already you have given it back to him, younger and more eager than ever. I don't expect you to understand anything I'm telling you. But I know you will remember this — that nothing good ever ends. If it did, there would be no people in the world — no life at all, anywhere. And the world is full of people and full of wonderful life.

"One Day in the Afternoon of the World" (1964)
Context: I began to write in the first place because I expected everything to change, and I wanted to have things in writing the way they had been. Just a little things, of course. A little of my little.

Short Drive, Sweet Chariot (1966)
Context: I am interested in madness. I believe it is the biggest thing in the human race, and the most constant. How do you take away from a man his madness without also taking away his identity? Are we sure it is desirable for a man's spirit not to be at war with itself, or that it is better to be serene and ready to go to dinner than to be excited and unwilling to stop for a cup of coffee, even?

The Resurrection of a Life (1935)
Context: I cannot see the war as historians see it. Those clever fellows study all the facts and they see the war as a large thing, one of the biggest events in the legend of the man, something general, involving multitudes. I see it as a large thing too, only I break it into small units of one man at a time, and see it as a large and monstrous thing for each man involved. I see the war as death in one form or another for men dressed as soldiers, and all the men who survived the war, including myself, I see as men who died with their brothers, dressed as soldiers. There is no such thing as a soldier. I see death as a private event, the destruction of the universe in the brain and in the senses of one man, and I cannot see any man's death as a contributing factor in the success or failure of a military campaign.

Source: Not Dying: An Autobiographical Interlude

Source: Madness in the Family: Stories

The Bicycle Rider In Beverly Hills (1952)

The Human Comedy (1943)

The Bicycle Rider In Beverly Hills (1952)

Hello Out There (1941)

On Armenian poet Yegishe Charentz, whom Saroyan met in Moscow in June, 1935.
I Used to Believe I Had Forever — Now I'm Not So Sure (1968)

Hello Out There (1941)

As quoted in "Saroyan's Literary Quarantine" by Peter H. King, in The Los Angeles Times (26 March 1997).

Hello Out There (1941)

My Heart's in the Highlands (1939)

"The Armenian Writers : A Short Story" (1954)

Places Where I've Done Time (1972)