I Am Not Sure Of

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.

There Is Nothing In The World That Is Not Mysterious, But The Mystery Is More Evident In Certain Things Than In Others: In The Sea, In The Eyes Of The Elders, In The Color Yellow, And In Music.

The Possibilities Of The Art Of Combination Are Not Infinite, But They Tend To Be Frightful.

I Know Of A Wild Region Whose Librarians Repudiate The Vain Superstitious Custom Of Seeking Any Sense In Books And Compare It To Looking For Meaning In Dreams Or In The Chaotic Lines Of One's Hands . . . They Admit That The Inventors Of Writing Imitated The Twenty-five Natural Symbols, But They Maintain That This Application Is Accidental And That Books In Themselves Mean Nothing. This Opinion - We Shall See - Is Not Altogether False.

What A Writer Wants To Do Is Not What He Does.