A civil war is, may we say, the prototype of all war, for in the persons of fellow citizens who happen to be the enemy we meet again, with the old ambivalence of love and hate and with all the old guilts, the blood brothers of our childhood. In a civil war – especially in one such as this when the nation shares deep and significant convictions and is not a mere handbasket of factions huddled arbitrarily together by historical happen-so – all the self-divisions of conflicts within individuals become a series of mirrors in which the plight of the country is reflected, and the self-division of the country a great mirror in which the individual may see imaged his own deep conflicts, not only the conflicts of political loyalties, but those more profoundly personal.

— Robert Penn Warren

A man goes away from his home, and it is in him to do it. He lies in strange beds in the dark, and the wind is different in the trees. He walks in the street and there are the faces in front of his eyes, but there are no names for the faces. The voices he hears are not the voices he carried away in his ears a long time back when he went away. The voices he hears are loud. They are so loud he does not hear for a long time at a stretch those voices he carried away in his ears. But there comes a minute when it is quiet, and he can hear those voices he carried away in his ears a long time back. He can make out what they say, and they say: Come back. They say: Come back, boy. So he comes back.

— Robert Penn Warren

And the testicles of the fathers hang down like old lace

— Robert Penn Warren

Beauty Is the fume-track of necessity. This thought Is therapeutic. If, after several Applications, you do not find Relief, consult your family physician

— Robert Penn Warren

But for the present I would lie there and now I didn't have to get up, and feel the holy emptiness and blessed fatigue of a saint after the dark night of the soul. For God and Nothing have a lot in common. You look either one of Them straight in the eye for a second and the immediate effect on the human constitution is the same.

— Robert Penn Warren

But I don't know, in the end, what deserts, chasms, achievements, virtues, and beauties have to do with love. We can love for so many different, and paradoxical, qualities in the object of our love--for strength or for weakness, for beauty or for ugliness, for gaiety or for sadness, for sweetness or for bitterness, for goodness or for wickedness, for need or for impervious independence. Then, if we wonder from what secret springs in ourselves gushes our love, our poor brain goes giddy from speculation, and we wonder what is all meaning and worth. Is it our own need that makes us lean toward and wish to succor need, or is it our strength? What way would our strength, if we had it, incline our heart? Do we give love in order to receive love, and even in the transport or endearment carry the usurer's tight-lipped and secret calculation, unacknowledged even by ourselves? Or do we give with an arrogance after all, a passion for self-definition? Or do we simply want a hand, any hand, a human object, to clutch in the dark on the blanket, and fear lies behind everything? Do we want happiness, or is it pain, pain as the index of reality, that we, in the chamber of our heart, want? Oh, if I knew the answer, perhaps then I could feel free.

— Robert Penn Warren

But, the stultifying lingo aside, the question I raise is a vital one for us all, we are all stuck with trying to find the meaning of our lives, and the only thing we have to work on, or with, is our past.

— Robert Penn Warren

...by the time we understand the pattern we are in, the definition we are making for ourselves, it's too late to break out of the box. We can only live in terms of the definition, like the prisoner in the cage in which he cannot lie or stand or sit, hung up in justice to be viewed by the populace. Yet the definition we have made of ourselves is ourselves. To break out of it, we must make a new self. But how can the self make a new self when the selfless which it is, is the only substance from which the new self can be made?

— Robert Penn Warren

During all that time I didn't see Willie. I didn't see him again until he announced in the Democratic primary in 1930. But it wasn't a primary. It was hell among the yearlings and the Charge of the Light Brigade and Saturday night in the back room of Casey's saloon rolled into one, and when the dust cleared away not a picture still hung on the walls. And there wasn't any Democratic Party. There was just Willie, with his hair in his eyes and his shirt sticking to his stomach with sweat. And he had a meat ax in his hand and was screaming for blood. In the background of the picture, under a purplish tumbled sky flecked with sinister white like driven foam, flanking Willie, one on each side, were two figures, Sadie Burke and a tallish, stooped, slow-spoken man with a sad, tanned face and what they call the eyes of a dreamer. The man was Hugh Miller, Harvard Law School, Lafayette Espadrille, Croix de Guerre, clean hands, pure heart, and no political past. He was a fellow who had sat still for years, and then somebody (Willie Stark) handed him a baseball bat, and he felt his fingers close on the tape. He was a man and was Attorney General. And Sadie Burke was just Sadie Burke. Over the brow of the hill, there were, of course, some other people. There were, for instance, certain gentlemen who had been devoted to Joe Harrison, but who, when they discovered there wasn't going to be any more Joe Harrison politically speaking, had to hunt up a new friend. The new friend happened to be Willie. He was the only place for them to go. They figured they would sign on with Willie and grow up with the country. Willie signed them on all right, and as a result got quite a few votes not of the wool-hat and cockle bur variety. After a while Willie even signed on Tiny Duffy, who became Highway Commissioner and, later, Lieutenant Governor in Willie's last term. I used to wonder why Willie kept him around. Sometimes I used to ask the Boss, "What do you keep that lunkhead for?" Sometimes he would just laugh and say nothing. Sometimes he would say, "Hell, somebody's got to be Lieutenant Governor, and they all look alike." But once he said: "I keep him because he reminds me of something."" What?"" Something I don't ever want to forget," he said." What's that?"" That when they come to you sweet-talking you better not listen to anything they say. I don't aim to forget that." So that was it. Tiny was the fellow who had come in a big automobile and had talked sweet to Willie back when Willie was a little country lawyer.

— Robert Penn Warren

For example. But I cannot give you an example. It was not so much any one example, any one event, which I recollected which was important, but the flow, the texture of the events, for meaning is never in the event but in the motion through event. Otherwise, we could isolate an instant in the event and say that this is the event itself. The meaning. But we cannot do that. For it is the motion which is important. And I was moving. I was moving West at seventy-five miles an hour, through a blur of million-dollar landscape and heroic history, and I was moving back through time into my memory. They say the drowning man re-lives his life as he drowns. Well, I was not drowning in water, but I was drowning in West. I drowned westward through the hot brass days and black velvet nights. It took me seventy-eight hours to drown. For my body to sink down to the very bottom of West and lie in the motionless ooze of History, naked on a hotel bed in Long Beach, California.

— Robert Penn Warren