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!

Not only should you not accept a prize. You should not try to deserve one either.

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.

One must be a living man and a posthumous artist.

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.

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.

We are in a period of such individualism that one no longer speaks of disciples; one speaks of thieves.