Most writers - poets in especial - prefer having it understood that they compose by a species of fine frenzy - an ecstatic intuition - and would positively shudder at letting the public take a peep behind the scenes.
While every noble morality develops from a triumphant affirmation of itself, slave morality from the outset says No to what is "outside," what is "different," what is "not itself"; and this No is its creative deed.
Good architecture is still the difficult, conscientious, creative, expressive planning for that elusive synthesis that is a near-contradiction in terms: efficiency and beauty.
Thrift is the really romantic thing; economy is more romantic than extravagance... thrift is poetic because it is creative; waste is unpoetic because it is waste... if a man could undertake to make use of all the things in his dustbin, he would be a broader genius than Shakespeare.
To me the biggest irony of this lifetime that I'm living is that for someone who thrives in the public eye in the creative ways that I do, I actually don't enjoy being in the public eye.
It's society that disables an individual by not investing in enough creativity to allow for someone to show us the quality that makes them rare and valuable and capable.
Every nation, every race, has not only its own creative, but its own critical turn of mind; and is even more oblivious of the shortcomings and limitations of its critical habits than of those of its creative genius.
Artists may here have a more subtle scent: they know only too well that it is precisely when they cease to act 'voluntarily' and do everything of necessity that their feeling of freedom, subtlety, fullness of power, creative placing, disposing, shaping reaches its height - in short, that necessity and 'freedom of will' are then one in them.
It's hard to overemphasize how important Ford's deregulation was. True, most of the benefits took years to unfold-rail freight rates, for example hardly budged at first. Yet deregulation set the stage for an enormous wave of creative destruction in the 1980s.
There Is No God. This negation must be understood solely to affect a creative Deity. The hypothesis of a pervading Spirit co-eternal with the universe remains unshaken.
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.
Almost any biographer, if he respects facts, can give us much more than another fact to add to our collection. He can give us the creative fact; the fertile fact; the fact that suggests and engenders.
Without myth, however, every culture loses its healthy creative natural power: it is only a horizon encompassed with myth that rounds off to unity a social movement.
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.