It is the single image, as used in a photograph or a painting - or the frame of a film - to which words have been added to enlarge the context. The method is not the same as that by which most paintings are named. It is closer in its performance to what dialogue does to a movie, to what the caption does to a good poster.

I learned that I had been brought up as a protected, blindfolded daughter.

The advertising men made it clear that there were two ways of looking at ideas in a war against fascism. Those of us who were working on the project believed ideas were to be fought for; the advertising men believed they were to be sold. The audience, those at home in wartime, were not 'citizens' or 'people.' They were 'customers.'

Local images have one kind of reality. 'U.S. 1' will, I hope, have that kind and another, too. Poetry can extend the document.

I hope for quick, fluent copy and memorable pictures. The words would not 'describe' the pictures; the pictures would not 'illustrate' the words. Together, they would carry a stamp and tell a story.

One characteristic of modern poetry is that arrangement of parts which strikes many people as being violent or obscure.

The town of Gauley Bridge stands as a pattern for all those places where people are linked even in the middle of their suffering, where people fight against an evil condition so that other people need not go through the same fight.

Editors have grown timid... a brave advance is almost inevitably followed by quick back-tracking, generally by dilution and debasement of the original intention.

I should like to use another word: 'audience' or 'reader' or 'listener' seems inadequate. I suggest the old word 'witness,' which includes the act of seeing and knowing by personal experience, as well as the act of giving evidence.

A work of art is one through which the consciousness of the artist is able to give its emotions to anyone who is prepared to receive them. There is no such thing as bad art.