Quotes of All Topics . Occasions . Authors
You have comfort. You don't have luxury. And don't tell me that money plays a part. The luxury I advocate has nothing to do with money. It cannot be bought. It is the reward of those who have NO Fear or Discomfort.
Everything one does in life, even love, occurs in an express train racing toward death. To smoke opium is to get out of the train while it is still moving. It is to concern oneself with something other than life or death.
Take a commonplace, clean it and polish it, light it so that it produces the same effect of youth and freshness and originality and spontaneity as it did originally, and you have done a poet's job. The rest is literature.
The actual tragedies of life bear no relation to one's preconceived ideas. In the event, one is always bewildered by their simplicity, their grandeur of design, and by that element of the bizarre which seems inherent in them.
The world owes its enchantment to these curious creatures and their fancies; but its multiple complicity rejects them. Thistledown spirits, tragic, heartrending in their evanescence, they must go blowing headlong to perdition.
The instinct of nearly all societies is to lock up anybody who is truly free. First, society begins by trying to beat you up. If this fails, they try to poison you. If this fails too, the finish by loading honors on your head.
And now I have to confess the unpardonable and the scandalous. I am a happy man. And I am going to tell you the secret of my happiness. It is quite simple. I love mankind. I love love. I hate hate. I try to understand and accept.
What uniform can I wear to hide my heavy heart? It is too heavy. It will always show. Jacques felt himself growing gloomy again. He was well aware that to live on earth a man must follow its fashions, and hearts were no longer worn.
The job of the poet (a job which can't be learned) consists of placing those objects of the visible world which have become invisible due to the glue of habit, in an unusual position which strikes the soul and gives them a tragic force.
At all costs the true world of childhood must prevail, must be restored; that world whose momentous, heroic, mysterious quality is fed on airy nothings, whose substance is so ill-fitted to withstand the brutal touch of adult inquisition.
Every poem is a coat of arms. It must be deciphered. How much blood, how many tears in exchange for these axes, these muzzles, these unicorns, these torches, these towers, these martlets, these seedlings of stars and these fields of blue!
The poet, by composing poems, uses a language that is neither dead nor living, that few people speak, and few people understand We are the servants of an unknown force that lives within us, manipulates us, and dictates this language to us.
Keep braiding one's wavelengths back into oneself. That way they gain all the more external power and surround us with a huge affective and protective zone. Don't talk about this. Never talk about our secret methods. If we talk about them, they stop working.
If an addict who has been completely cured starts smoking again he no longer experiences the discomfort of his first addiction. There exists, therefore, outside alkaloids and habit, a sense for opium, an intangible habit which lives on, despite the recasting of the organism. The dead drug leaves a ghost behind. At certain hours it haunts the house.
In two weeks, despite these notes, I shall no longer believe in what I am experiencing now. One must leave behind a trace of this journey which memory forgets. One must, when this is impossible, write or draw without responding to the romantic solicitations of pain, without enjoying suffering like music, tieing a pen to one's foot if need be, helping the doctors who can learn nothing from laziness.
When we awake it is the animal, the plant, that thinks in us. Primitive thought without the least disguise. We see a terrible universe, because we see clearly. A little later, intelligence introduces its impeding contrivances. It brings the little toys which man invents in order to hide the void. It is then that we think we are seeing clearly. We attribute our uneasiness to the miasmas of the brain as it passes from dream to reality.
What is line? It is life. A line must live at each point along its course in such a way that the artist's presence makes itself felt above that of the model... With the writer, line takes precedence over form and content. It runs through the words he assembles. It strikes a continuous note unperceived by ear or eye. It is, in a way, the soul's style, and if the line ceases to have a life of its own, if it only describes an arabesque, the soul is missing and the writing dies.
A child's reaction to this type of calamity is twofold and extreme. Not knowing how deeply, powerfully, life drops anchor into its vast sources of recuperation, he is bound to envisage, at once, the very worst; yet at the same time, because of his inability to imagine death, the worst remains totally unreal to him. Gerard went on repeating: "Paul's dying; Paul's going to die"' but he did not believe it. Paul's death would be part of the dream, a dream of snow, of journeying forever.
I want the kind of readers who remain children at any cost. I can tell them at a glance: loyalty to that first enchantment guards better than any cosmetic; than any diet, against the insults of age. But alas for such readers, who would huddle safe and sound in the asylum of their credulous enchantment as if in the womb-our enervating century offends them by its chaos, its fidgets of light and space, the host of its excuses for dividing , for rending oneself from others and from oneself.
I shall never forget what I saw at the Museum of Modern Art: in a spotless schoolroom, fifty little girls painting away at tables covered with brushes, pots, tubes, bowls, staring into space and sticking out their tongues like the clever animals that ring a bell, tongues lolling and eyes vague. Teachers supervise these young creators of abstract art and slap their wrists if what they paint represents something and dangerously inclines toward realism. The mothers - still at the Picasso stage - are not admitted.