“Atticus had said it was the polite thing to talk to people about what they were interested in, not about what you were interested in.”

“What about sunrise, what about rain?
What about all the things that you said we were to gain?
What about flowering fields, is there a time?
What about all the dreams that you said was yours and mine?”

“Why talk about what we want? That is childish. Absurd. Of course, you are interested in what you want. You are eternally interested in it. But no one else is. The rest of us are just like you: we are interested in what we want.”

“The moderns were interested in what was likely to come of such changes and their general tendency: they thought about the thing itself, substantively, in utopian or essential fashion.”

“The three cards were the Moon, the Empress, and the Ace of Cups. Ambrose leaned over my shoulder to peer at the cards. "Ooh,' he said. "Very interesting."
Rhonda glanced up at him. "Hush. You don't know what you're talking about.”

““Try to be a man about whom nothing is known,” our father said, when we were young. Our father said several other interesting things, but we have forgotten what they were. “Keep quiet,” he said. That we remember. He wished more quiet. One tends to want that, in a National Park. Our father was a man about whom nothing was known. Nothing is known about him still. He gave us the recipes. He was not very interesting. A tree is more interesting. A suitcase is more interesting. A canned good is more interesting. When we sing the father hymn, we notice that he was not very interesting. The words of the hymn notice it. It is explictly commented upon, in the text.”

“He had quite liked the dwarfs. He often had no idea what they were talking about, but for a group of homicidal, class-obsessed small people, they were really rather good fun.”

“I knew people were talking, but I wasn't listening. I wasn't interested in anything anyone had to say.”

“The most interesting question of history is always, What were these people thinking?”

“Morris Louis and I were interested in how Pollock and Helen Frankenthaler [famous for her soak-painting technique] were using paint. Of necessity we had to get more interested in the stuff of painting. We talked a lot about whether to size the painting or not to size, how to mix up paint.”