“I do differ from you radically in respect to familiar things & scenes; for I always demand close correlation with the landscape & historic stream to which I belong, & would feel completely lost in infinity without a system of reference-points based on known & accustomed objects. I take complete relativity so much for granted, that I cannot conceive of anything as existing in itself in any recognisable form. What gives things an aspect & quasi-significance to us is the fact that we view things consistently from a certain artificial & fortuitous angle. Without the preservation of that angle, coherent consciousness & entity itself becomes inconceivable. Thus my wish for freedom is not so much a wish to put all terrestrial things behind me & plunge forever into abysses beyond light, matter, & energy. That, indeed, would mean annihilation as a personality rather than liberation. My wish is perhaps best defined as a wish for infinite visioning & voyaging power, yet without loss of the familiar background which gives all things significance. I want to know what stretches Outside, & be able to visit all the gulfs & dimensions beyond Space & Time. I want, too, to juggle the calendar at will; bringing things from the immemorial past down into the present, & making long journeys into the forgotten years. But I want the familiar Old Providence of my childhood as a perpetual base for these necromancies & excursions—& in a good part of these necromancies & excursions I want certain transmuted features of Old Providence to form part of the alien voids I visit or conjure up. I am as geographic-minded as a cat—places are everything to me. Long observation has shewn me that no other objective experience can give me even a quarter of the kick I can extract from the sight of a fresh landscape or urban vista whose antiquity & historic linkages are such as to correspond with certain fixed childhood dream-patterns of mine. Of course my twilight cosmos of half-familiar, fleetingly remembered marvels is just as unattainable as your Ultimate Abysses—this being the real secret of its fascination. Nothing really known can continue to be acutely fascinating—the charm of many familiar things being mainly resident in their power to symbolise or suggest unknown extensions & overtones.”

Variant: And now I'm looking at you, he said, and you're asking me if I still want you, as if I could stop loving you. As if I would want to give up the thing that makes me stronger than anything ever has.
Source: City of Glass

Introduction to the "Corners on the Curving Sky" section of the book Soulscript (1970) compiled by Jordan. These lines have been widely published in verse format as work misattributed to Gwendolyn Brooks, usually as a poem titled "Corners on the Curving Sky." One website http://web.archive.org/20090809112040/www.geocities.com/juscurious/anon.html indicated that Brooks had publicly repudiated the attribution of these lines to her, but the misattribution seems to have long remained largely unrecognized.
Context: Our earth is round, and, among other things, that means that you and I can hold completely different points of view and both be right. The difference of our positions will show stars in your window I cannot even imagine. Your sky may burn with light, while mine, at the same moment, spreads beautiful to darkness. Still we must choose how we separately corner the circling universe of our experience. Once chosen, our cornering will determine the message of any star and darkness we encounter. These poems speak to philosophy; they reveal the corners where we organize what we know.

The above statements have been widely published in the above format as lines of verse attributed to Brooks, usually as a poem titled "Corners on the Curving Sky" — but one website http://web.archive.org/20090809112040/www.geocities.com/juscurious/anon.html indicated that she declared she did not write them. The words actually occur as an introduction to the "Corners on the Curving Sky" section of the book Soulscript (1970) compiled by June Jordan, in which other poems of Brooks were included, and thus is apparently the work of Jordan. It appears simply in paragraph form and reads thus:
Misattributed, "Corners on the Curving Sky"
Context: Our earth is round, and, among other things
That means that you and I can hold completely different
Points of view and both be right.
The difference of our positions will show
Stars in your window I cannot even imagine.
Your sky may burn with light,
While mine, at the same moment,
Spreads beautiful to darkness.

Quote in a letter to Sherwood Anderson, October 1923; as quoted in Georgia O'Keeffe: A Life, Roxana Robinson, University Press of New England, 1999
1917 - 1929

Mis cosas totalmente perdidas son aquellas que, al perderlas yo, no las encuentran otros.
Voces (1943)

The Salmon of Doubt (2002)
Context: I am fascinated by religion. (That's a completely different thing from believing in it!) It has had such an incalculably huge effect on human affairs. What is it? What does it represent? Why have we invented it? How does it keep going? What will become of it? I love to keep poking and prodding at it. I've thought about it so much over the years that that fascination is bound to spill over into my writing.

Italian Report (1955)

Quote of Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
Malevich valued Cezanne's art as a temporarily necessary but still 'provincial art' in the long developing line of modern art
1921 - 1930

On forming bands with her sister, Anne, Rock and Roll Hall of Fame interview, 2016