Art, like morality, consists of drawing the line somewhere.

We possess art lest we perish of the truth.

The work of art, just like any fragment of human life considered in its deepest meaning, seems to me devoid of value if it does not offer the hardness, the rigidity, the regularity, the luster on every interior and exterior facet, of the crystal.

If we pretend to respect the artist at all, we must allow him his freedom of choice, in the face, in particular cases, of innumerable presumptions that the choice will not fructify. Art derives a considerable part of its beneficial exercise from flying in the face of presumptions.

I never know quite when I’m not writing. Sometimes my wife comes up to me at a party and says, Dammit, Thurber, stop writing. She usually catches me in the middle of a paragraph. Or my daughter will look up from the dinner table and ask, Is he sick? No, my wife says, he’s writing something.

It has always been my practice to cast a long paragraph in a single mold, to try it by my ear, to deposit it in my memory, but to suspend the action of the pen till I had given the last polish to my work.

Write while the heat is in you. The writer who postpones the recording of his thoughts uses an iron which has cooled to burn a hole with. He cannot inflame the minds of his audience.

I cannot live without books, but fewer will suffice where amusement, and not use, is the only future object.

Art is our chief means of breaking bread with the dead.

Art lives from constraints and dies from freedom.

The first mistake of art is to assume that it’s serious.

Art transcends its limitations only by staying within them.

Were I called on to define, very briefly, the term art, I should call it “the reproduction of what the senses perceive in nature through the veil of the soul.” The mere imitation, however accurate, of what is in nature, entitles no man to the sacred name of “artist.”