For a writer you have to be interested in different cultures, different backgrounds. You are not there to write only about your village. You're there to show a bit of your village, but also to understand other villages.
I don't know what to say about this book. The experience on which it is founded is so extraordinary, that an honest record of it should be preserved . . . But it would have driven me mad; and I am not sure that the author came out of it without a slight derangement.
The epitaph that I would write for history would say: I conceal nothing. It is not enough not to lie. One should strive not to lie in a negative sense by remaining silent.
To be allowed to call her "Dora", to write to her, to dote upon and worship her, to have reason to think that when she was with other people she was yet mindful of me, seemed to me the summit of human ambition - I am sure it was the summit of mine.
So in writing, there is always a right word, and every other than that is wrong. There is no beauty in words except in their collocation. The effect of a fanciful word misplaced, is like that of a horn of exquisite polish growing on a human head.
A good athlete can enter a state of body-awareness in which the right stroke or the right movement happens by itself, effortlessly, without any interference of the conscious will. This is a paradigm for non-action: the purest and most effective form of action. The game plays the game; the poem writes the poem; we can't tell the dancer from the dance. It happens when we trust the intelligence of the universe in the same way that an athlete or a dancer trusts the superior intelligence of the body.