There is neither a proportional relationship, nor an inverse one, between a writer’s estimation of a work in progress & its actual quality. The feeling that the work is magnificent, & the feeling that it is abominable, are both mosquitoes to be repelled, ignored, or killed, but not indulged.

Why are we reading if not in hope that the writer will magnify and dramatize our days, will illuminate and inspire us with wisdom, courage, and the possibility of meaningfulness, and will press upon our minds the deepest mysteries, so that we may feel again their majesty and power? What do we ever know that is higher than that power which, from time to time, seizes our lives, and reveals us startlingly to ourselves as creatures set down here bewildered?

Your freedom as a writer is not freedom of expression in the sense of wild blurting; you may not let rip. It is life at its most free, if you are fortunate enough to be able to try it, because you select your materials, invent your task, and pace yourself.

Self-consciousness is the curse of the city and all that sophistication implies.

Even if things are as bad as they could possible be, and as meaningless, then matters of truth are themselves indifferent; we may as well please our sensibilities and, with as much spirit as we can muster, go out with a buck and a wing.

The world is fairly studded and strewn with pennies cast broadside by a generous hand. But- and this is the point- who gets excited by a mere penny? But if you cultivate a healthy poverty and simplicity, so that finding a penny will literally make your day, then, since the world is in fact planted in pennies, you have with your poverty bought a lifetime of days.

Painters work from the ground up. The latest version of a painting overlays earlier versions, and obliterates them. Writers, on the other hand, work from left to right. The discardable chapters are on the left.