The moment our discourse rises above the ground-line of familiar facts, and is inflamed with passion or exalted thought, it clothes itself in images. A man conversing in earnest, if he watch his intellectual processes, will find that always a material image, more or less luminous, arises in his mind, contemporaneous with every thought, which furnishes the vestment of the thought.... This imagery is spontaneous. It is the blending of experience with the present action of the mind. It is proper creation.
One should not wrongly reify 'cause' and 'effect,' as the natural scientists do (and whoever, like them, now 'naturalizes' in his thinking), according to the prevailing mechanical doltishness which makes the cause press and push until it 'effects' its end; one should use 'cause' and 'effect' only as pure concepts, that is to say, as conventional fictions for the purpose of designation and communication-not for explanation.
Poetry is not the proper antithesis to prose, but to science. Poetry is opposed to science, and prose to meter. The proper and immediate object of science is the acquirement, or communication of truth; the proper and immediate object of poetry is the communication of immediate pleasure.
He felt he had lost it for good, he knew what it was to have been in communication with her, and to be cast off again. In misery, his heart like a heavy stone, he went about unliving.
We brought the religious leaders and the secular development workers together in one room. We asked the religious leaders what are your reservations about development workers? And we asked the development workers, what are your reservations about religious leaders? It turns out that most of the problems are not really problems at all, but rather misunderstandings, misconceptions, and mis-communications.
Most contemporary novels are not really "written." They obtain what reality they have largely from an accurate rendering of the noises that human beings currently make in their daily simple needs of communication; and what part of a novel is not composed of these noises consists of a prose which is no more alive than that of a competent newspaper writer or government official. A prose that is altogether alive demands something of the reader that the ordinary novel-reader is not prepared to give.
But today, just a few years into the twenty-first century, we already find ourselves in a different and precarious position. As revolutions in communications and technology have broken down barriers across the world, it has given more power to both our competitors and our enemies.