Whenever an encounter between a writer of good will and a regular person of good will happens to touch on the subject of writing, each person discovers, dismayed, that good will is of no earthly use. The conversation cannot proceed.

What is important is the moment of opening a life and feeling it touch--with an electric hiss and cry--this speckled mineral sphere, our present world.

Then why did you tell me?

What I sought in books was imagination. It was depth, depth of thought and feeling; some sort of extreme of subject matter; some nearness to death; some call to courage. I myself was getting wild; I wanted wildness, originality, genius, rapture, hope. ... What I sought in books was a world whose surfaces, whose people and events and days lived, actually matched the exaltation of the interior life. There you could live.

Write about winter in the summer. Describe Norway as Ibsen did, from a desk in Italy; describe Dublin as James Joyce did, from a desk in Paris. Willa Cather wrote her prairie novels in New York City; Mark Twain wrote Huckleberry Finn in Hartford, Connecticut. Recently, scholars learned that Walt Whitman rarely left his room.

It is madness to wear ladies' straw hats and velvet hats to church; we should all be wearing crash helmets. Ushers should issue life preservers and signal flares; they should lash us to our pews. For the sleeping God may wake someday and take offense, or the waking God may draw us out to where we can never return.

Nature's silence is its one remark, and every flake of world is a chip off that old mute and immutable block.