I remember standing on a street corner with the black painter Beauford Delaney down in the Village, waiting for the light to change, and he pointed down and said, 'Look.' I looked and all I saw was water. And he said, 'Look again,' which I did, and I saw oil on the water and the city reflected in the puddle. It was a great revelation to me. I can't explain it. He taught me how to see, and how to trust what I saw. Painters have often taught writers how to see. And once you've had that experience, you see differently.
It was as though we were a picture, trapped in time: this had been happening for hundreds of years, people sitting in a room, waiting for dinner, and listening to the blues.
Tell me, he said, "What is this thing about time? Why is it better to be late than early? People are always saying, we must wait, we must wait. what are they waiting for?" "Well […] I guess people wait in order to make sure of what they feel." "And when you have waited—-has it made you sure?
The moral authority in the Western world is gone. And it is gone forever. It is gone, not because of the criminal record--everybody's record is criminal. It is gone because you cannot do one thing and pretend you're doing another! None of us, who are sitting around in some of the true limbo out-of-space, which we call "now," waiting to be saved, civilized, or discovered, have the moral authority to say anything.
Secrets hidden at the heart of midnight are simply waiting to be dragged to the light, as, on some unlucky high noon, they always are. But secrets shrouded in the glare of candor are bound to defeat even the most determined and agile inspector for the light is always changing and proves that the eye cannot be trusted.
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