The writer who aims at producing the platitudes which are "not for an age, but for all time" has his reward in being unreadable inall ages.... The man who writes about himself and his own time is the only sort of man who writes about all people and about all time.
I am writing a play which I probably will not finish until the end of November. I am writing it with considerable pleasure, though I sin frightfully against the conventions of the stage. It is a comedy with three female parts, six male, four acts, a landscape (view of the lake), lots of talk on literature, little action and tons of love.
When I first started writing for television in the seventies and eighties, the Internet didn't exist, and we didn't need to worry about foreign websites illegally distributing the latest TV shows and blockbuster movies online.
It is no worse, because I write of it. It would be no better, if I stopped my most unwilling hand. Nothing can undo it; nothing can make it otherwise than as it was.
When an honest writer discovers an imposition it is his simple duty to strip it bare and hurl it down from its place of honor, no matter who suffers by it; any other course would render him unworthy of the public confidence.
Just as I cannot remember any time when I could not read and write, I cannot remember any time when I did not exercise my imagination in daydreams about women.
An isolated person requires correspondence as a means of seeing his ideas as others see them, and thus guarding against the dogmatisms and extravagances of solitary and uncorrected speculation. No man can learn to reason and appraise from a mere perusal of the writing of others. If he live not in the world, where he can observe the public at first hand and be directed toward solid reality by the force of conversation and spoken debate, then he must sharpen his discrimination and regulate his perceptive balance by an equivalent exchange of ideas in epistolary form.
The greatest thing by far is to have a command of metaphor. This alone cannot be imparted by another; it is the mark of genius, for to make good metaphors implies an eye for resemblances.
Taking the question in general, I should say, in the case of many poets, that the most important thing for them to do ... is to write as little as possible