I guess what concerns me always is the need for a field, a rich compost, for any art to flourish. But however isolate or unheard you may feel, if you have the need to write poetry, are compelled to write it, you go on, whether there is resonance or not.
Herein is the explanation of the analogies, which exist in all the arts. They are the re-appearance of one mind, working in many materials to many temporary ends. Raphael paints wisdom, Handel sings it, Phidias carves it, Shakspeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it. Painting was called "silent poetry," and poetry "speaking painting." The laws of each art are convertible into the laws of every other.
There is some reason to believe that when a man does not write his poetry it escapes by other vents through him, instead of the one vent of writing; clings to his form and manners, whilst poets have often nothing poetical about them except their verses.
The frankest and freest product of the human mind and heart is a love letter; the writer gets his limitless freedom of statement and expression from his sense that no stranger is going to see what he is writing.
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.
My writing is very organic. It's what I am. My mother says I was writing before I was crawling. I wrote in the dirt with a twig. So I think of it as something that's very essential to my being.
It has come to be practically a sort of rule in literature that a man, having once shown himself capable of original writing, is entitled thenceforth to steal from the writings of others at discretion.
It is a good thing to write for the amusement of the public, but it is a far higher and nobler thing to write for their instruction, their profit, their actual and tangible benefit.