Through all the relationship stuff I've gone through in the past few years I know there are fundamental differences in how men and women view sex and how they view their futures.

Among the letters my readers write me there is a certain category which is continuously growing and which I see as a symptom of the increasing intellectualization of the relationship between readers and literature.

When writing comedy you have to have the confidence to believe that there is only one type of relationship in the world and we are all having it that all men behave in the same way and so do all women.

I think that to a very great extent we are partners with the divine in this enterprise called history. That is an ongoing relationship and there is absolutely no guarantee that things will automatically work out to our best advantage.

If you're a Christian you don't sit there and worry about what somebody else is doing if they're happy and they're committed in a relationship.

It's important not to ditch your mates when you're in a relationship. Lots of girls do it but you need to remember they will always be there for you.

I've never really had a relationship with Hollywood. I've never had a desire to work there.

If there's no relationship with a father who's absent nobody talks about it.

What I do believe is that there is always a relationship between writing and reading a constant interplay between the writer on the one hand and the reader on the other.

Then there is the further question of what is the relationship of thinking to reality. As careful attention shows thought itself is in an actual process of movement.

There is no relationship between the gestures and what an orchestra will do.

The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.

You know it's possible for two humans to be in a relationship without there needing to be some public reason for that relationship.

There is no substitute for the comfort supplied by the utterly taken-for-granted relationship.

I usually write for the individual reader -though I would like to have many such readers. There are some poets who write for people assembled in big rooms so they can live through something collectively. I prefer my reader to take my poem and have a one-on-one relationship with it.

I feel there's a power in theatre but it's an indirect power. It's like the relationship of the sleeper to the unconscious. You discover things you can't afford to countenance in waking life. You can forget them remember them a day later or not have any idea what they are about.

There's such an extreme feeling to be in love especially in quite an emotionally destructive relationship where you're both kind of really bad for each other but you love each other so much. Those extreme emotions I think can only be described with extreme imagery.