Experience of life (not of books) is the only capital usable in such a book as you have attempted; one can make no judicious use of this capital while it is new.
I only can write a book every two years, you know. And I write very fast, but I'm not always writing every day. I needed a contact with different things, like nature, for example. I cannot be in front of a computer trying to tell a story.
I've always believed in writing without a collaborator, because where two people are writing the same book, each believes he gets all the worry and only half the royalties.
Books are to be called for and supplied on the assumption that the process of reading is not a half-sleep, but in the highest sense an exercise, a gymnastic struggle; that the reader is to do something for himself.
I confess to wincing every so often at a poorly chosen word, a mangled sentence, an expression of emotion that seems indulgent or overly practiced. I have the urge to cut the book by fifty pages or so, possessed as I am with a keener appreciation for brevity.
Who was it who said, 'I hold the buying of more books than one can peradventure read, as nothing less than the soul's reaching towards infinity; which is the only thing that raises us above the beasts that perish.'? Whoever it was, I agree with him.
I abide by a rule concerning reviews: I will never ask, neither in writing nor in person, that a word be put in about my book.... One feels cleaner this way. When someone asks that his book be reviewed he risks running up against a vulgarity offensive to authorial sensibilities.
It is a pity to make a mystery out of what should most easily be understood. There is nothing occult about the thought that all things maybe made well or made ill. A work of art is a well-made thing - that is all. It may be a well-made statue of a well-made chair or a well-made book. Art is not a special sauce applied to ordinary cooking; it is the cooking itself that is good. Most simply and generally, Art may be thought of as "The Well Doing of What Needs Doing."