“A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.”

Source: Learning Strategies and Individual Competence (1972), p. 284 as cited in: Nigel Ford (2000) "Cognitive Styles and Virtual Environments" in: Journal of the American Society for Information Science. Vol 51, Is. 6, p. 547.

Source: Six Characters in Search of an Author

March 2. Quoted in "A Shameful Act: The Armenian Genocide and the Question of Turkish Responsibility" - by Taner Akçam, Paul Bessemer - History - 2006 - Page 159

'The Weld This Week'
Essays and reviews, The Crystal Bucket (1982)

Bill Maher Confesses: ‘Selling Pot Allowed Me to Get Through College’ http://www.mediaite.com/tv/bill-maher-confesses-selling-pot-allowed-me-to-get-through-college/ September 9, 2013.

The Paris Review interview (1984)
Context: I found ancestors, like Shakespeare, who said, in Macbeth, that the world is full of sound and fury, a tale told by an idiot, signifying nothing. Macbeth is a victim of fate. So is Oedipus. But what happens to them is not absurd in the eyes of destiny, because destiny, or fate, has its own norms, its own morality, its own laws, which cannot be flouted with impunity. Oedipus sleeps with his Mummy, kills his Daddy, and breaks the laws of fate. He must pay for it by suffering. It is tragic and absurd, but at the same time it’s reassuring and comforting, since the idea is that if we don’t break destiny’s laws, we should be all right. Not so with our characters. They have no metaphysics, no order, no law. They are miserable and they don’t know why. They are puppets, undone. In short, they represent modern man. Their situation is not tragic, since it has no relation to a higher order. Instead, it’s ridiculous, laughable, and derisory.

The Paris Review interview (2010)
Context: When I was seventeen I read everything by Robert Heinlein and Arthur Clarke, and the early writings of Theodore Sturgeon and Van Vogt — all the people who appeared in Astounding Science Fiction — but my big science-fiction influences are H. G. Wells and Jules Verne. I’ve found that I’m a lot like Verne — a writer of moral fables, an instructor in the humanities. He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally. His hero Nemo — who in a way is the flip side of Melville’s madman, Ahab — goes about the world taking weapons away from people to instruct them toward peace.

The Voyage into the Dark (1961); also in My Life and Views (1968), p. 154