Frasi di William Saroyan

Me stesso sulla terra; 1998, p. 41
Che ve ne sembra dell'America?

Il mio cuore negli altipiani

Avviso a chi vuol lavorare nelle pompe funebri; 1998, p. 206
Che ve ne sembra dell'America?

Al calar del sole; 1998, pp. 162-163
Che ve ne sembra dell'America?

Settantamila assiri; 1998, p. 21
Che ve ne sembra dell'America?

Il mondo e il teatro; 1998, p. 107
Che ve ne sembra dell'America?

Jim Dandy : Fat Man in a Famine (1947)

The Human Comedy (1943)

Obituaries (1979)

"The Summer of the Beautiful White Horse".
My Name Is Aram (1940)
Contesto: One day, back there in the good old days when I was nine and the world was full of every kind of magnificence, and life was still a delightful and mysterious dream, my cousin Mourad, who was considered crazy by everybody who knew him except me, came to my house at four in the morning and woke me up by tapping on the window of my room.
"Aram," he said.
I jumped out of bed and looked out the window.
I couldn't believe what I saw.
It wasn't morning yet, but it was summer and with daybreak not many minutes around the corner of the world it was light enough for me to know I wasn't dreaming.
My cousin Mourad was sitting on a beautiful white horse.

"The Daring Young Man on the Flying Trapeze"
The Daring Young Man on the Flying Trapeze (1934)
Contesto: Then swiftly, neatly, with the grace of the young man on the trapeze, he was gone from his body.
For an eternal moment he was still all things at once: the bird, the fish, the rodent, the reptile, and man. An ocean of print undulated endlessly and darkly before him. The city burned. The herded crowd rioted. The earth circled away, and knowing that he did so, he turned his lost face to the empty sky and became dreamless, unalive, perfect.

My Heart's in the Highlands (1939)

Something About a Soldier (1940)

Preface
The Daring Young Man on the Flying Trapeze (1934)
Contesto: The most solid advice for a writer is this, I think: Try to learn to breathe deeply, really to taste food when you eat, and when you sleep really to sleep. Try as much as possible to be wholly alive with all your might, and when you laugh, laugh like hell. And when you get angry, get good and angry. Try to be alive. You will be dead soon enough.

Here Comes There Goes You Know Who (1961)
Contesto: I believed from the beginning of remembered experience that I was somebody with an incalculable potential for enlargement, somebody who both knew and could find out, upon whom demands could be made with the expectation of having them fulfilled.
I felt at the same time, and pretty much constantly, that I was nothing in relation to Enormity, the Unknown, and the Unknowable. I was too vulnerable, too lacking in power, a thing of subtle reality, liable to be blown away without a moment's warning, a migrant with no meaning, no guide, no counsel, an entity in continuous transition, a growing thing whose stages of growth always went unnoticed, a fluid and flawed thing. Thus, there could be no extreme vanity in my recognition of myself, if in fact there could be any at all. I did frequently rejoice in the recognition, but I may have gotten that from some of the Protestant hymns I had heard, and knew, and had sung, such as Joy to the World. The simple fact was that if the song wasn't about me, I couldn't see how it could possibly be about anybody else, including the one I knew it was supposed to be about, and good luck to him, too.

Inhale and Exhale (1936)
Contesto: There is a small area of land in Asia Minor that is called Armenia, but it is not so. It is not Armenia. It is a place. There are only Armenians, and they inhabit the earth, not Armenia, since there is no Armenia. There is no America and there is no England, and no France, and no Italy. There is only the earth.