It may be that universal history is the history of the different intonations given a handful of metaphors.

My advanced age has taught me the resignation of being Borges.

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.

He constructed a vast labyrinthine of periods, made impassable by the piling-up of clauses upon clauses-clauses in which oversight and bad grammar seemed manifestations of disdain.

Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed, makes the world into its instrument, and forges, beyond spatial and temporal prisons, a personal vision.

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.

I wonder if I have woven through dreams the sexual strife. I don't think so. But after all, my business is to weave dreams. I suppose I may be allowed to choose the material.