Yet with these April sunsets, that somehow recall My buried life, and Paris in the spring, I feel immeasurably at peace, and find the world To be wonderful and youthful afterall
Probably, indeed, the larger part of the labor of an author composing his work is critical labor; the labor of sifting, combining, constructing, expunging, correcting, testing. This frightful toil is as much critical as creative.
History may be servitude. History may be freedom. See, now they vanish. The faces and places, with the self which, as it could, loved them, to become renewed, transfigured, in another pattern.
When forced to work within a strict framework, the imagination is taxed to its utmost and will produce its richest ideas. Given total freedom, the work is likely to sprawl.
There's no vocabulary For love within a family, love that's lived in But not looked at, love within the light of which All else is seen, the love within which All other love finds speech. This love is silent.
As things are, and as fundamentally they must always be, poetry is not a career, but a mug's game. No honest poet can ever feel quite sure of the permanent value of what he has written: He may have wasted his time and messed up his life for nothing.
What profession is more trying than that of author? After you finish a piece of work it only seems good to you for a few weeks; or if it seems good at all you are convinced that it is the last you will be able to write; and if it seems bad you wonder whether everything you have done isn’t poor stuff really; and it is one kind of agony while you are writing, and another kind when you aren’t.
Let us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table; Let us go, through certain half-deserted streets, The muttering retreats 5 Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question … 10 Oh, do not ask, “What is it?” Let us go and make our visit. In the room the women come and go Talking of Michelangelo.
Think neither fear nor courage saves us. Unnatural vices are fathered by our heroism. Virtues are forced upon us by our impudent crimes. These tears are shaken from the wrath-bearing tree.
We fight for lost causes because we know that our defeat and dismay may be the preface to our successors' victory, though that victory itself will be temporary; we fight rather to keep something alive than in the expectation that anything will triumph.