When I heard the word ''stream'' uttered with such a revolting primness, what I think of is urine and not the contemporary novel. And besides, it isn't new, it is far from the dernier cri. Shakespeare used it continually, much too much in my opinion, and there's Tristam Shandy, not to mention the "Agamemnon."
The important thing is not what we write but how we write, and in my opinion the modern writer must be an adventurer above all, willing to take every risk, and be prepared to founder in his effort if need be. In other words we must write dangerously
A way a lone a last a loved a long the riverrun, past Eve and Adam's, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.
You ask me why I don’t love you, but surely you must believe I am very fond of you and if to desire to possess a person wholly, to admire and honour that person deeply, and to seek to secure that person’s happiness in every way is to “love” then perhaps my affection for you is a kind of love. I will tell you this that your soul seems to me to be the most beautiful and simple soul in the world and it may be because I am so conscious of this when I look at you that my love or affection for you loses much of its violence.
I should tell you that honestly, on my honour of a Nearwicked, I always think in a wordworth's of that primed favourite continental poet, Daunty, Gouty and Shopkeeper, A.G., whom the generality admoyers in this that is and that this is to come.
Every age must look for its sanction to its poetry and philosophy, for in these the human mind, as it looks backward or forward, attains to an eternal state.
I wanted real adventures to happen to myself. But real adventures, I reflected, do not happen to people who remain at home: they must be sought abroad.
The personality of the artist, at first a cry or a cadence or a mood and then a fluid, and lambent narrative, finally refines itself out of existence, impersonalises itself, so to speak. The aesthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of aesthetic like that of material creation is accomplished. The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.
Imagine some foul and putrid corpse that has lain rotting and decomposing in the grave, a jelly-like mass of liquid corruption. Imagine such a corpse a prey to flames, devoured by the fire of burning brimstone and giving off dense choking fumes of nauseous loathsome decomposition. And then imagine this sickening stench, multiplied a millionfold and a millionfold again from the millions upon millions of fetid carcasses massed together in the reeking darkness, a huge and rotting human fungus. Imagine all this, and you will have some idea of the horror of the stench of hell.
By an epiphany he meant a sudden spiritual manifestation, whether in the vulgarity of speech or of gesture or memorable phrase of the mind itself. He believed it was for the man of letters to record these epiphanies with extreme care (saving them for later use, that is), seeing that they themselves are the most delicate and evanescent of moments.