“Ed walked away from the program feeling fortified and stapled. His brain was buzzing, the way it always did just after Jeopardy! He loaded up the microbus with Atlases and poseidons and headed for Pope County. "I've had it," he sang. "I've had it with puns, alliteration, Russian literature, Italian neorealism, meaningless cross-references, and laundry lists of nonsense. I shall drive without a license, without clothing, without direction, and if I make it to Arkansas, fine, and if I'm running late, if I'm running a numbers game, it doesn't matter, I shall keep on running. Yes, this is the answer. This is the ending. I shall keep on running, because a body in motion tends to stay emotional, and it's better to feel. Pain is better than emptiness, emptiness is better than nothing, and nothing is better than this."”

The Tragic Sense of Life (1913), X : Religion, the Mythology of the Beyond and the Apocatastasis
Context: Not without reason did he who had the right to do so speak of the foolishness of the cross. Foolishness, without a doubt, foolishness. And the American humorist, Oliver Wendell Holmes, was not altogether wide of the mark in making one of the characters in his ingenious conversations say that he thought better of those who were confined in a lunatic asylum on account of religious mania than of those who, while professing the same religious principles, kept their wits and appeared to enjoy life very well outside the asylums. But those who are at large, are they not really, thanks to God, mad too? Are there not mild madnesses, which not only permit us to mix with our neighbors without danger to society, but which rather enable us to do so, for by means of them we are able to attribute a meaning and finality to life and society?

On Frédéric Chopin, in Oeuvres autobiographiques, edited by Georges Lubin, Vol. 2; Histoire de ma vie, p. 446. I [Jeffrey Kallberg] have modified somewhat the English translation printed in George Sand, Story of My Life: The Autobiography of George Sand, group translation ed. Thelma Jurgrau (Albany, 1991), p. 1109. The chapter on Chopin dates from August or September 1854.
Context: His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed. It was a series of efforts, indecision, and impatience to recapture certain details of the theme he had heard: what had come to him all of a piece, he now over-analyzed in his desire to write it down, and his regret at not finding it again "neat," as he said, would throw him into a kind of despair. He would shut himself up in his room for days at a time, weeping, pacing, breaking his pens, repeating and changing a single measure a hundred times, writing it and effacing it with equal frequency, and beginning again the next day with a meticulous and desperate perseverance. He would spend six weeks on one page, only to end up writing it just as he had traced it in his first outpouring.

The Telegraph Interview, 10 june 2009

The Wonderful Wizard of Oz (1900)

During a radio broadcast recorded in the UK. (During a broadcast in the Soviet Union, Bob re-used the first section, replacing 'England' with 'Russia' and 'cup of tea' with 'Bowl of Borscht')
Audio recording of radio broadcast.

My Autobiography (1964)

Chap. IX
The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789)

Source: Hatchet

Mr. Tanner
Song lyrics, Short Stories (1974)