In the critic's vocabulary, the word "precursor" is indispensable, but it should be cleansed of all connotations of polemic or rivalry. The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future." -- Essay: "Kafka and his Precursors

From my weakness, I drew strength that never left me.

Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.

Why do you seem so annoyed at what I'm saying?" "Because we're too much like each other. I loathe your face, which is a caricature of mine, I loathe your voice, which is a mockery of mine, I loathe your pathetic syntax, which is my own.

The aesthetic event is something as evident, as immediate, as indefinable as love, the taste of fruit, of water. We feel poetry as we feel the closeness of a woman, or as we feel a mountain or a bay. If we feel it immediately, why dilute it with other words, which no doubt will be weaker than our feelings?

My undertaking is not difficult, essentially. I should only have to be immortal to carry it out.

The exercise of letters is sometimes linked to the ambition to construct an absolute book, a book of books that includes the others like a Platonic archetype, an object whose virtues are not diminished by the passage of time.