We should read other people's books in order to learn what we feel; it is our own thoughts we should be developing, even if it is another writer's thought that help us to do so.
The more closely we analyze what we consider 'sexy,' the more clearly we will understand that eroticism is the feeling of excitement we experience at finding another human being who shares our values and our sense of the meaning of existence.
It is in books, poems, paintings which often give us the confidence to take seriously feelings in ourselves that we might otherwise never have thought to acknowledge.
At the beginning of human history, as we struggled to light fires and to chisel fallen trees into rudimentary canoes, who could have predicted that long after we had managed to send men to the moon and areoplanes to Australasia, we would still have such trouble knowing how to tolerate ourselves, forgive our loved ones, and apologise for our tantrums?
The origins and travels of our purchases remain matters of indifference, although to the more imaginative at least a slight dampness at the bottom of a carton, or an obscure code printed along a computer cable, may hint at processes of manufacture and transport nobler and more mysterious, more worthy of wonder and study, than the very goods themselves.
What I want to argue for is not that we should give up on our ideas of success, but that we should make sure that they are our own. We should focus in on our ideas and make sure that we own them, that we're truly the authors of our own ambitions. Because it's bad enough not getting what you want, but it's even worse to have an idea of what it is you want and find out at the end of the journey that it isn't, in fact, what you wanted all along.
The very act of drawing an object, however badly, swiftly takes the drawer from a woolly sense of what the object looks like to a precise awareness of its component parts and particularities.
It is in dialogue with pain that many beautiful things acquire their value. Acquaintance with grief turns out to be one of the more unusual prerequisites of architectural appreciation. We might, quite aside from all other requirements, need to be a little sad before buildings can properly touch us.