I believe in all that has never yet been spoken.

It is true that these mysteries are dreadful, and people have always drawn away from them. But where can we find anything sweet and glorious that would never wear this mask, the mask of the dreadful? Whoever does not, sometimes or other, give his full consent, his full and joyous consent to the dreadfulness of life, can never take possession of the unutterable abundance and power of our existence; can only walk on its edge, and one day, when the judgment is given, will have been neither alive nor dead.

It is part of the nature of every definitive love that sooner or later it can reach the beloved only in infinity.

This above all-ask yourself in the stillest hour of your night: must I write? Delve into yourself for a deep answer. And if this should be affirmative, if you may meet this earnest question with a strong and simple "I must," then build your life according to this necessity; your life even into its most indifferent and slightest hour must be a sign of this urge and a testimony to it. Then draw near to Nature. Then try, like some first human being, to say what you see and experience and love and lose.

They all have tired mouths and bright seamless souls. And a longing (as for sin) sometimes haunts their dreams. They are almost all alike; in God's gardens they keep still, like many, many intervals in his might and melody. Only when they spread their wings are they wakers of a wind: as if God with his broad sculptor- hands leafed through the pages in the dark book of the beginning.

I am so afraid of people's words.They describe so distinctly everything: And this they call dog and that they call house, here the start and there the end. I worry about their mockery with words, they know everything, what will be, what was; no mountain is still miraculous; and their house and yard lead right up to God. I want to warn and object: Let the things be! I enjoy listening to the sound they are making. But you always touch: and they hush and stand still. That's how you kill.

To write rhythmic prose one must go deep into oneself and find the anonymous and multiple rhythm of the blood. Prose needs to be built like a cathedral. There, one is truly without a name, without ambition, without help; on scaffoldings, alone with one's consciousness.