I would meet you upon this honestly. I that was near your heart was removed therefrom To lose beauty in terror, terror in inquisition. I have lost my passion: why should I need to keep it Since what is kept must be adulterated? I have lost my sight, smell, hearing, taste and touch: How should I use them for your closer contact?
One thing you cannot know: The sudden extinction of every alternative, The unexpected crash of the iron cataract. You do not know what hope is, until you have lost it. You only know what it is not to hope: You do not know what it is to have hope taken from you Or to fling it away, to join the legion of the hopeless Unrecognized by other men, though sometimes by each other.
Poetry may make us from time to time a little more aware of the deeper, unnamed feelings which form the substratum of our being, to which we rarely penetrate; for our lives are mostly a constant evasion of ourselves.
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.
To believe in the supernatural is not simply to believe that after living a successful, material, and fairly virtuous life here one will continue to exist in the best-possible substitute for this world, or that after living a starved and stunted life here one will be compensated with all the good things one has gone without: it is to believe that the supernatural is the greatest reality here and now.
Composing on the typewriter, I find that I am sloughing off all my long sentences which I used to dote upon. Short, staccato, like modern French prose. The typewriter makes for lucidity, but I am not sure that it encourages subtlety.
Hell is oneself, hell is alone, the other figures in it merely projections. There is nothing to escape from and nothing to escape to. One is always alone.
When the Stranger says: "What is the meaning of this city? Do you huddle close together because you love each other?" What will you answer? "We all dwell together To make money from each other"? or "This is a community"? Oh my soul, be prepared for the coming of the Stranger. Be prepared for him who knows how to ask questions.
If we all were judged according to the consequences Of all our words and deeds, beyond the intention And beyond our limited understanding Of ourselves and others, we should all be condemned.