“[T]wo moments, of trance and struggle, mingle in the real life of societyː an undercurrent of conflict and disbelief always counteracts the routines of dependence and deference. Society, no matter how impregnable it seems to its inhabitants, always stands at the edge of the cliff. The petty practical quarrels and normative disputes, endlessly refought to reproduce a social world in the face of divergent interests and changing circumstance, can escalate at any moment into broader and more intense conflicts that put this world at risk.”

Billy writing a letter to a newspaper describing the Tralfamadorians
Slaughterhouse-Five (1969)
Context: The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.
When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in bad condition in the particular moment, but that the same person is just fine in plenty of other moments. Now, when I myself hear that somebody is dead, I simply shrug and say what the Tralfamadorians say about dead people, which is "So it goes."

letter to Adelaide Kuntz, September 7, 1933; as quoted in Marsden Hartley, by Gail R. Scott, Abbeville Publishers, Cross River Press, 1988, New York p. 168
1931 - 1943

Source: Veronika Decides to Die

Antrobus, in Act 3
The Skin of Our Teeth (1942)

Interview, City's Best (4 February 2011) http://www.citysbest.com/chicago/news/2011/02/04/jennifer-beals-talks-chicago-code-windy-city-pride/.

Interview in Writers at Work Third Series (1967) edited by George Plimpton
Context: One's condition on marijuana is always existential. One can feel the importance of each moment and how it is changing one. One feels one's being, one becomes aware of the enormous apparatus of nothingness — the hum of a hi-fi set, the emptiness of a pointless interruption, one becomes aware of the war between each of us, how the nothingness in each of us seeks to attack the being of others, how our being in turn is attacked by the nothingness in others.

Source: Living systems, 1978, p. 22; As cited in: Egolfs Voldemars Bakuzis (1974) Foundations of Forest Ecosystems: Concepts of systems in general. p. 490

Ibid., p.189.
Desiring Arabs

The Four Agreements (1997)