The fact, and the intuition or logic about the fact, are severe coordinates in fiction. In the short story they must cross with hair-line precision.

It is through the acceptance of a variety of aethetic and intellectual points of view that a culture is given breadth and density.

What we suffer, what we endure, what we muff, what we kill, what we miss, what we are guilty of, is done by us, as individuals, in private.

But is there any reason to believe that a woman's spiritual fibre is less sturdy than a man's? Is it not possible for a woman to come to terms with herself if not with the world; to withdraw more and more, as time goes on, her own personality from her productions; to stop childish fears of death and eschew charming rebellions against facts?

...in a time lacking in truth and certainty and filled with anguish and despair, no woman should be shamefaced in attempting to give back to the world, through her work, a portion of its lost heart.

Innocence of heart and violence of feeling are necessary in any kind of superior achievement: The arts cannot exist without them.

The poem is always the last resort. In it the poet makes a world in little, and finds peace, even though, under complete focused emotion, the evocation be far more bitter than reality, or far more lovely.