“It wasn’t the best choice. I made a mistake. It was not prohibited. It was not in any way disallowed. And as I have said and as now has come out, my predecessors did the same thing and many other people in the government. But here’s the cut to the chase facts. I did not send or receive any emails marked classified at the time. What you are talking about is retroactive classification. And the reason that happens is when somebody asks or when you are asked to make information public, I asked all my emails to be made public. Then all the rest of the government gets to weigh in. … I think that what we have got here is a case of overclassification. …”

Bush press secretary Scott McClellan, on illegal leaking of counter-terrorist CIA agent identity; May 29, 2008; Countdown http://www.msnbc.msn.com/id/3719710/

“The Obscurity of the Poet”, p. 3
Poetry and the Age (1953)
Context: When I was asked to talk about the Obscurity of the Modern Poet I was delighted, for I have suffered from this obscurity all my life. But then I realized that I was being asked to talk not about the fact that people don’t read poetry, but about the fact that most of them wouldn’t understand it if they did: about the difficulty, not the neglect, of contemporary poetry. And yet it is not just modern poetry, but poetry, that is today obscure. Paradise Lost is what it was; but the ordinary reader no longer makes the mistake of trying to read it — instead he glances at it, weighs it in his hand, shudders, and suddenly, his eyes shining, puts it on his list of the ten dullest books he has ever read, along with Moby-Dick, War and Peace, Faust, and Boswell’s Life of Johnson. But I am doing this ordinary reader an injustice: it was not the Public, nodding over its lunch-pail, but the educated reader, the reader the universities have trained, who a few weeks ago, to the Public’s sympathetic delight, put together this list of the world’s dullest books.
Since most people know about the modern poet only that he is obscure—i. e., that he is difficult, i. e., that he is neglected — they naturally make a causal connection between the two meanings of the word, and decide that he is unread because he is difficult. Some of the time this is true: the poet seems difficult because he is not read, because the reader is not accustomed to reading his or any other poetry.

Quoted in: Honor Books, ‎W. B. Freeman (2004), God's Little Devotional Book for Girls, p. 205
2000s

That's my creative process.
Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Afterword to The Dud Avocado (2006)
Context: The Big Personalities weighed in. Soon after its publication Irwin Shaw wrote to me praising it. Terry Southern, calling me "Miss Smarts," said I was "a perfect darling." Gore Vidal phoned one morning saying, "You’ve got the one thing a writer needs: You’ve got your own voice. Now go." Ernest Hemingway said to me, "I liked your book. I liked the way your characters all speak differently." And then added, "My characters all sound the same because I never listen." All this, and heaven too. Laurence Olivier told me that now that my book was making a lot of money we could elope and I could support us. The Financial Times ran an item which read, "Such and such stock: No dud avocado." Groucho Marx wrote me, "I had to tell someone how much I enjoyed The Dud Avocado.… If this was actually your life, I don’t know how the hell you got through it." When people ask me how autobiographical the book is I say, all the impulsive, outrageous things my heroine does, I did. All the sensible things she did, I made up.

On women.
Monster (2004)

“ Black Sabbath's Geezer Butler,” interview with People for the Ethical Treatment of Animals (5 May 2009) https://www.youtube.com/watch?v=D5ASHXylc-g.

Turning Pages: The Life and Literature of Margaret Atwood (2007)

Aleph (2011)