The two important facts I should say, are emotion, and then words arising from emotion. I don't think you can write in an emotionless way. If you attempt it, the result is artificial. I don't like that kind of writing. I think that if a poem is really great, you should think of it as having written itself despite the author. It should flow.

The people of Tlön are taught that the act of counting modifies the amount counted, turning indefinites into definites. The fact that several persons counting the same quantity come to the same result is for the psychologists of Tlön an example of the association of ideas or of memorization.

Then I reflect that all things happen, happen to one, precisely now. Century follows century, and things happen only in the present. There are countless men in the air, on land and at sea, and all that really happens happens to me.

I cannot walk through the suburbs in the solitude of the night without thinking that the night pleases us because it suppresses idle details, just as our memory does.

The things that are said in literature are always the same. What is important is the way they are said. Looking for metaphors, for example: When I was a young man I was always hunting for new metaphors. Then I found out that really good metaphors are always the same.

On the floor, and hanging on to the bar, squatted an old man, immobile as an object. His years had reduced and polished him as water does a stone or the generations of men do a sentence.

If you using local color in an unobtrusive way, it is all for the good. But if you stress it, the whole thing is artificial. But it should be used, I mean, it's not forbidden. But you don't have to stress it.