Divorce transforms habit into drama.

When neither high purpose nor the categorical imperatives of religion will do, the only argument against suicide is life itself. You pause and attend: the heart beats in your chest; outside, the trees are thick with new leaves, a swallow dips over them, the light moves, people are going about their business.

Despite the hundreds of attempts, police terror and the concentration camps have proved to be more or less impossible subjects for the artist; since what happened in them was beyond the imagination, it was therefore also beyond art and all those human values on which art is traditionally based.

In [The New Poetry] I had attacked the British poets' nervous preference for gentility above all else, and their avoidance of the uncomfortable, destructive truths both of the inner life and of the present time.

The better the artist, the more vulnerable he seems to be.

Divorce transforms habit into drama.

Twentieth-century art may start with nothing, but it flourishes by virtue of its belief in itself, in the possibility of control over what seems essentially uncontrollable, in the coherence of the inchoate, and in its ability to create its own values.