Silence? What can New York-noisy, roaring, rumbling, tumbling, bustling, story, turbulent New York-have to do with silence? Amid the universal clatter, the incessant din of business, the all swallowing vortex of the great money whirlpool-who has any, even distant, idea of the profound repose......of silence?

A city of silence and truth, where success and failure, murderer and victim, come together, where thieves and policemen lie side by side in peace for the first and last time.

Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.

Instead of the poems I had hoped for, there came only a shuddering blackness and ineffable loneliness; and I saw at last a fearful truth which no one had ever dared to breathe before — the unwhisperable secret of secrets — The fact that this city of stone and stridor is not a sentient perpetuation of Old New York as London is of Old London and Paris of Old Paris, but that it is in fact quite dead, its sprawling body imperfectly embalmed and infested with queer animate things which have nothing to do with it as it was in life.

The 'civilized' world's silence is more deafening than the exlopsions covering the city like a shroud of death and terror.

"Language... is a highly ambiguous business. So often, below the word spoken, is the thing known and unspoken... You and I, the characters which grow on a page, most of the time we're inexpressive, giving little away, unreliable, elusive, obstructive, unwilling. But it's out of these attributes that a language arises. A language, I repeat, where under what is said, another thing is being said...

There are two silences. One when no word is spoken. The other when perhaps a torrent of language is being employed. The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, anguished or mocking smokescreen. When true silence falls, we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.

We have heard many times that tired, grimy phrase, "failure of communication", and this phrase has been fixed to my work quite consistently. I believe the contrary. I think that we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility.

I am not suggesting that no character in a play can ever say what he in fact means. Not at all. I have found that there invariably does come a moment when this happens, when he says something, perhaps, which he has never said before. And where this happens, what he says is irrevocable, and can never be taken back."

My theory was that a city without a newspaper is a city without a soul.

So this wonderful city
Has only dead ashes for me.

The city itself swung slowly toward us silent as a dream. No sign of life but puffs of steam from skyscraper chimneys, the motion of the traffic. The mighty towers stood like tombstones in a graveyard, leaning against the sky and waiting for -- for what? Someday we'll know.

The cities we inhabit are schools of death because they are inhuman. Each has become a den of noise and stench. Each has become a chaos of buildings where we amass ourselves by the millions, losing our life's purpose. Unfortunates, with no escape, we feel that we have put ourselves, willingly or not, in the labyrinth of the absurd, from which we will only emerge dead, for our destiny is to multiply without end, only to perish in great numbers. With each turn of the wheel, the cities we inhabit advance imperceptibly towards each other, aspiring to merge into an absolute chaos of noise and stench. With each turn of the wheel, the price of land rises, and in the labyrinth that devours free space, the revenue from investments builds hundreds of walls, day after day. Since money must work and the cities we inhabit must progress, it's still legitimate for their houses to double in height with each generation, even if they lack water every two days. The builders only seek to escape the fate they are preparing for us by fleeing to the countryside.

Death is a dialogue
between the spirit and the dust

"The City"

You said, “I will go to another land, I will go to another sea.
Another city will be found, a better one than this.
Every effort of mine is a condemnation of fate;
and my heart is — like a corpse — buried.
How long will my mind remain in this wasteland.
Wherever I turn my eyes, wherever I may look
I see black ruins of my life here,
where I spent so many years destroying and wasting.”

You will find no new lands, you will find no other seas.
The city will follow you. You will roam the same
streets. And you will age in the same neighborhoods;
and you will grow gray in these same houses.
Always you will arrive in this city. Do not hope for any other — There is no ship for you, there is no road.
As you have destroyed your life here
in this little corner, you have ruined it in the entire world.

Lines to Stop Talking By

In your city today outside my room
Some quiet animal or only the rain
At its patient task was opening the wall
By touching it, and whatever was there
Spread outward a bit at a time toward the horizon
Cresting ahead and breaking, the way
All through your life whatever is near extends
When you think. In your city today
I thought of Never, hiding inside
An iceberg floating south rinsed by the days
Till that great blind ice blinks open in the center.
I heard an ambulance carry its banner away
In the rain in your city. And I thought of
My poems- how they are always there
Waiting to try for that circumference
It takes all of us to find.

The social group which the city represents is so strong that it draws men into sin which is hardly personal to them, but from which they cannot dissociate themselves even if they so desire. Individual virtues are engulfed by the sin of the city.