I cannot accept the theory that a hard punch couldnt be delivered from — Roberto Clemente

"At least, I got robbed by one of the best in the business. It’s like if you were a trainman in the old days and Jesse James held you up. You know you’ve been robbed by the best highwayman in the business."

"Before I threw the ball I prayed a little bit to God: "Please let this pitch be in a good spot for him not to hit it too hard." I think I was lucky enough to throw the ball in a good spot. It was a ground ball out. I remember one time in Pittsburgh – I struck him out three times. I think that was the greatest day in my life."

"When he was throwing to third, his throw was low enough to hit the cutoff and still get to third in the air. Coming home sometimes, he’d miss the cutoff man and try to get it all the way to the plate. Didn’t hurt him because he got it there quicker than most people. Roberto was one of the very few right fielders who could field the ball with the runner rounding first and throw behind that runner, without him taking second. He threw out quite a few guys that way."

"What I did was mild compared to what Durocher did to Conlan. I dont see how what I did can be called more serious than the Durocher incident. I had good reason to lose my head. That was the second time they call me out on a play I thought I had beat. Thats enough to make anybody mad."

"I am having a plaque put on the front of my house. It will say, "To God, Mother, Father and Baseball."

"Clemente and Ted Williams are the only two batters I ever saw who get good wood on the ball almost every time up. Every ball he hits seems shot out of a cannon."

"I, too, believed it was impossible to change the existing society into one that would be for the benefit of all; neither could I espouse any given ideal for society. But [...] I felt that even if one did not have an ideal vision of society, one could have one’s work to do. Whether it was successful or not was not our concern; it was enough that we believed it to be a valid work. The accomplishment of that work, I believed, was what our real life was about. Yes. I want to carry out a work of my own; for I feel that by so doing our lives are rooted in the here and now, not in some far-off ideal goal."

"Nobody should start to undertake a large project. You start with a small _trivial_ project, and you should never expect it to get large. If you do, youll just overdesign and generally think it is more important than it likely is at that stage. Or worse, you might be scared away by the sheer size of the work you envision. So start small, and think about the details. Dont think about some big picture and fancy design. If it doesnt solve some fairly immediate need, its almost certainly over-designed. And dont expect people to jump in and help you. Thats not how these things work. You need to get something half-way _useful_ first, and then others will say "hey, that _almost_ works for me", and theyll get involved in the project."

"If something seems possible, thats probably because someone is already doing it. When something seems that it cant possibly work, nobody tries it. Real innovation happens when someone tries anyway, overlooking an obvious flaw, and finds a way to make an idea work."

"Without getting complicated let me recapitulate my art training in the following way: the Academy first, the break with the Academy when I hit the Hofmann School which is Cubist. The next real break follows when I see Pollock’s work [1940-41] and once more another transition occurs.. .It was a force [Pollock’s work], a living force, the same sort of thing I responded to in Matisse, in Picasso, in Mondrian. Once more, I was hit that hard with what I saw... I began feeling the need to break with what I was doing and to approach something else."

"Well I think it [a Little Image painting] does suggest hieroglyphics of some sort. It is a preoccupation of mine from way back and every once in a while it comes into my work again. For instance in my 1968 show at the Marlborough I have a painting called Kufic, an ancient form of Arabic writing. Every once in a while I fall back to what I call my mysterious writings. I haven no idea what this is about but it runs through periods of my work."

"Action in its essence, the creative art of a writer of fiction may be compared to rescue work carried out in darkness against cross gusts of wind swaying the action of a great multitude. It is rescue work, this snatching of vanishing phases of turbulence, disguised in fair words, out of the native obscurity into a light where the struggling forms may be seen, seized upon, endowed with the only possible form of permanence in this world of relative values — the permanence of memory."