The flowery style is not unsuitable to public speeches or addresses, which amount only to compliment. The lighter beauties are in their place when there is nothing more solid to say; but the flowery style ought to be banished from a pleading, a sermon, or a didactic work.
The book was at a reasonably high position on the New York Times… before I was in the country. I thought it would be an interesting experiment to see if my presence here would push it up or down.
I think some people wished I’d kept myself out of the book. But I kind of insist on it because I want the reader to share my engagement with the material, if you like, not pretend that I’m doing it completely intellectually.
I’ve always believed in writing without a collaborator, because where two people are writing the same book, each believes he gets all the worry and only half the royalties.
And by the way, everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. The worst enemy to creativity is self-doubt.
Every reader finds himself. The writer’s work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.
The really great writers are people like Emily Bronte who sit in a room and write out of their limited experience and unlimited imagination.
I don’t like to write like God. It is only because you never do it, though, that the critics think you can’t do it.
I believe it is important to speak to your readers in person… to enable people to have a whole picture of me; I have to both write and speak. I view my role as writer and also as oral communicator.
Well – I started writing – probably in the early 60s and by say ’65-’66 I had read most of the poetry that had been published – certainly in the 20 years prior to that.
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