It is self-evident that St. Louis affected me more deeply than any other environment has ever done. I feel that there is something in having passed one's childhood beside the big river, which is incommunicable to those people who have not. I consider myself fortunate to have been born here, rather than in Boston, or New York, or London.
There are three conditions which often look alike Yet differ completely, flourish in the same hedgerow: Attachment to self and to things and to persons, detachment From self and from things and from persons; and, growing between them, indifference, ... .
One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
At the violet hour, when the eyes and back Turn upward from the desk, when the human engine waits Like a taxi throbbing waiting I Tiresias, though blind, throbbing between two lives.
I hate university towns and university people, who are the same everywhere, with pregnant wives, sprawling children, many books and hideous pictures on the walls ... Oxford is very pretty, but I don't like to be dead.
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 a poet's mind is perfectly equipped for its work, it is constantly amalgamating disparate experience ?in the mind of the poet these experiences are always forming new wholes.