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“Earlier fundamental work of Whitehead, Russell, Wittgenstein, Carnap, Whorf, etc., as well as my own attempt to use this earlier thinking as an epistemological base for psychiatric theory, led to a series of generalizations: That human verbal communication can operate and always does operate at many contrasting levels of abstraction. These range in two directions from the seemingly simple denotative level (“The cat is on the mat��). One range or set of these more abstract levels includes those explicit or implicit messages where the subject of discourse is the language. We will call these metalinguistic (for example, “The verbal sound ‘cat�� stands for any member of such and such class of objects��, or “The word, ‘cat�� has no fur and cannot scratch��). The other set of levels of abstraction we will call metacommunicative (e.g., “My telling you where to find the cat was friendly��, or “This is play��). In these, the subject of discourse is the relationship between the speakers. It will be noted that the vast majority of both metalinguistic and metacommunicative messages remain implicit; and also that, especially in the psychiatric interview, there occurs a further class of implicit messages about how metacommunicative messages of friendship and hostility are to be interpreted.”
― Gregory Bateson

“Bertrand Russell had given a talk on the then new quantum mechanics, of whose wonders he was most appreciative. He spoke hard and earnestly in the New Lecture Hall. And when he was done, Professor Whitehead, who presided, thanked him for his efforts, and not least for 'leaving the vast darkness of the subject unobscured'.”
― J. Robert Oppenheimer, The Open Mind

“I'm what the botanists call a hybrid," he said the first time Cora heard him speak, "A mixture of two different families. In flowers, such a concoction pleases the eye. When that amalgamation takes its shape in flesh and blood, some take great offence. In this room we recognize it for what it is - a new beauty come into the world, and it is in bloom all around us.”
― Colson Whitehead, The Underground Railroad

“You've a perfect right to call me as impractical as a dormouse, and to feel I'm out of touch with life. But this is the point where we simply can't see eye to eye. We've nothing whatever in common. Don't you see. . . it's not an accident that's drawn me from Blake to Whitehead, it's a certain line of thought which is fundamental to my whole approach. You see, there's something about them both. . . They trusted the universe. You say I don't know what the modern world's like, but that's obviously untrue. Anyone who's spent a week in London knows just what it's like. . . if you mean neurosis and boredom and the rest of it. And I do read a modern novel occasionally, in spite of what you say. I've read Joyce and Sartre and Beckett and the rest, and every atom in me rejects what they say. They strike me as liars and fools. I don't think they're dishonest so much as hopelessly tired and defeated."

Lewis had lit his pipe. He did it as if Reade were speaking to someone else. Now he said, smiling faintly, "I don't think we're discussing modern literature."

Reade had an impulse to call the debater's trick, but he repressed it. Instead he said quietly, "We're discussing modern life, and you brought up the subject. And I'm trying to explain why I don't think that murders and wars prove your point. I'm writing about Whitehead because his fundamental intuition of the universe is the same as my own. I believe like Whitehead that the universe is a single organism that somehow takes account of us. I don't believe that modern man is a stranded fragment of life in an empty universe. I've an instinct that tells me that there's a purpose, and that I can understand that purpose more deeply by trusting my instinct. I can't believe the world is meaningless. I don't expect life to explode in my face at any moment. When I walk back to my cottage, I don't feel like a meaningless fragment of life walking over a lot of dead hills. I feel a part of the landscape, as if it's somehow aware of me, and friendly.”
― Colin Wilson, The Glass Cage

“The iron horse still rumbled through the tunnel when she woke. Lumbly's words returned to her: "If you want to see what this nation is all about, you have to ride the rails. Look outside as you speed through, and you'll find the true face of America." It was a joke, then, from the start. There was only darkness outside the windows on her journeys, and only ever would be darkness.”
― Colson Whitehead, The Underground Railroad

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Metednos en la cárcel y nosotros os seguiremos amando. Arrojad bombas contras nuestras casas y amenazad a nuestros hijos, y nosotros, por muy difícil que sea, os seguiremos amando. Enviad a vuestros criminales encapuchados para que entren en nuestras comunidades al amparo de la noche y se nos lleven a rastras a un camino apartado y nos abandonen allí tras darnos una paliza de muerte, y nosotros os seguiremos amando. Pero tened por seguro que nuestra capacidad de sufrimiento acabará por agotaros, y que un día ganaremos nuestra libertad".”
― Colson Whitehead, The Nickel Boys