There's no point pretending that all of Martha Graham's pieces are equally strong.

At a certain point, you have to face the fact that you've turned into an old fart.

Most writers are vulnerable and insecure, and Kay Graham was more so than most.

I never use nature as a starting point. I never abstract from nature; I never consciously think of nature when I paint.

Martha Graham, along with George Balanchine, is one of the two commanding figures in 20th-century American dance. For those much younger than I am, her genius as a performer will have to be taken on faith - and on the always-suspect evidence of film. What will last, if things go well, is her genius as a choreographer, as a woman of the theater.

There's no point in dwelling on rejection.