A writer - and, I believe, generally all persons - must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art.

He thought that the rose was to be found in its own eternity and not in his words; and that we may mention or allude to a thing, but not express it.

In art nothing is more secondary than the author's intentions.

I...have always known that my destiny was, above all, a literary destiny — that bad things and some good things would happen to me, but that, in the long run, all of it would be convertedinto words. Particularly the bad things, since happiness does not need to be transformed: happiness is its own end.

I think of myself as being essentially a reader. I have ventured into writing, but I think what I have read is far more important than what I have written. For one reads what one likes—yet one writes not what one would like to write but what one is able to write.

A writer always begins by being too complicated—he’s playing at several games at once.

How can we manage to illuminate the pathos of our lives?

The famed author Robert Lewis Stevenson declared that he'd trained his Brownies to be writers. As he slept, they would whisper fantastic plots in his ear -- for example, the strange case of Dr. Jekyll and the diabolical Mr. Hyde, and that episode in "Olalla" when a young man from an old Spanish family bites his sister's hand.

There is no intellectual exercise that is not ultimately pointless.