So it is useless to evade reality, because it only makes it more virulent in the end. But instead, look steadfastly into the slit, pin-pointed, malignant eyes of reality: as an old-hand trainer dominates his wild beasts. Take it by the scruff of the neck, and shake the evil intent out of it; till it rattles out harmlessly, like gall bladder stones, fossilized on the floor.

[On journalists:] ... however lyingly libellous they may be: nobody can seriously hurt the reputation of a Great person. If he is hurt: he is not Great. They can but scratch at his skin with their mice nails.

anybody who drinks seriously is poor: so poor, poor, extra poor, me.

Anyone who has attempted to create knows the hellishness of it, which consists in the final inescapability from it. Knows that anything, however deadly humdrum to drug the senses, is preferable to it. Knows the gigantic effort to get started on the boundless, unwieldy, shapeless material; the forest of hesitations; of what to keep and what to throw out; the running-out terror and reluctance in one of finishing.

But the true evil of drink lies in the disillusion: that the initial pleasure very soon evaporates, leaving a demoralizing craving for more, which is not even temporarily pleasurable. Which then leads to deterioration of the faculties of both body and mind; plus a bewildering lack of co-operation between the two.

none of what I know is out of books. ... I prefer tactual learning. Touching, on the quick of the sore nail, of present, mobile life. To toy, to gnaw, to tear: at the living element of pain. Like at a living drumstick.

There is nothing harder for an Artist than to retain his Artistic integrity in the tomb of success. A tomb, nevertheless, which nearly every Artist: whether he admits it or not; naturally wants to get into.