"They had made the mistake of thinking of a personality as some sort of possession, like a suit of clothes, which a person wears. But apart from a personality what is there? Some bones and flesh. A collection of legal statistics, perhaps, but surely no person. The bones and flesh and legal statistics are the garments worn by the personality, not the other way around."

"It took me more than a week to deduce from the evidence around me that everything before my waking up was a dream and everything afterward was reality. There was no basis for distinguishing the two other than the growing pile of new events that seemed to argue against the drunk experience. Little things appeared, like the locked door, the outside of which I could never remember seeing. And a slip of paper from the probate court telling me that some person was committed as insane. Did they mean me?"

"When you look directly at an insane man all you see is a reflection of your own knowledge that he's insane, which is not to see him at all. To see him you must see what he saw and when you are trying to see the vision of an insane man, an oblique route is the only way to come at it."

"Art is anything you can do well. Anything you can do with Quality."

"What Phædrus thought and said is significant. But no one was listening at that time and they only thought him eccentric at first, then undesirable, then slightly mad, and then genuinely insane. There seems little doubt that he was insane, but much of his writing at the time indicates that what was driving him insane was this hostile opinion of him. Unusual behavior tends to produce estrangement in others which tends to further the unusual behavior and thus the estrangement in self-stoking cycles until some sort of climax is reached. In Phædrus' case there was a court-ordered police arrest and permanent removal from society."

"In recent times we have seen a huge split develop between a classic culture and a romantic counterculture—two worlds growingly alienated and hateful toward each other with everyone wondering if it will always be this way, a house divided against itself."

"The romantic mode is primarily inspirational, imaginative, creative, intuitive. Feelings rather than facts predominate. "Art" when it is opposed to "Science" is often romantic. It does not proceed by reason or by laws. It proceeds by feeling, intuition and esthetic conscience. In the northern European cultures the romantic mode is usually associated with femininity, but this is certainly not a necessary association. The classic mode, by contrast, proceeds by reason and by laws—which are themselves underlying forms of thought and behavior. In the European cultures it is primarily a masculine mode and the fields of science, law and medicine are unattractive to women largely for this reason. Although motorcycle riding is romantic, motorcycle maintenance is purely classic."

"You look at where you're going and where you are and it never makes sense, but then you look back at where you've been and a pattern seems to emerge. And if you project forward from that pattern, then sometimes you can come up with something."

"Now I want to begin to fulfill a certain obligation by stating that there was one person, no longer here, who had something to say, and who said it, but whom no one believed or really understood. Forgotten. For reasons that will become apparent I'd prefer that he remain forgotten, but there's no choice other than to reopen his case. I don't know his whole story. No one ever will, except Phædrus himself, and he can no longer speak. But from his writings and from what others have said and from fragments of my own recall it should be possible to piece together some kind of approximation of what he was talking about."

"The world of underlying form is an unusual object of discussion because it is actually a mode of discussion itself. You discuss things in terms of their immediate appearance or you discuss them in terms of their underlying form, and when you try to discuss these modes of discussion you get involved in what could be called a platform problem. You have no platform from which to discuss them other than the modes themselves."

"It's a miracle... sparkles like an electric dream. Freshness, originality... that seduces you into loving motorcycles, as tender in their pistons as the petals in the Buddha's dawn lotus."

"Told by the blurb that we have here "one of the most unique and exciting books in the history of American letters," one bridles both at the grammar of the claim and at its routine excess. The grammar stays irreparable. But I have a hunch that the assertion itself is valid... Zen and the Art is awkward both to live with and to write about. It lodges in the mind as few recent novels have, deepening its grip, compelling the landscape into unexpected planes of order and menace... the narrative tact, the perfect economy of effect, defy criticism... the analogies with Moby Dick are patent. Robert Pirsig invites the prodigious comparison... What more can one say?"

"Profoundly important... full of insights into our most perplexing contemporary dilemmas... It is intellectual entertainment of the highest order."

"This book is brilliant beyond belief, it is probably a work of genius, and will, I'll wager, attain classic stature."

"This book has as much to say about computers as Zen or motorcycle maintenance... Pirsig says more sensible things about the relationship between man and machines in the first half of his book, than a lot of books have to say in two halves."

"A moving tale of the modern soul, and a fine detective story of a man in search of himself. Beautifully, lucidly written, it offers a large challenge and an equal reward. Zen and the Art of Motorcycle Maintenance is one Harley of a book."