"The so-called obscurity of modernist literature has, of course, a lot to do with the new stress on exegesis. When the overt meaning of a work can no longer be taken for granted, criticism is forced — or seems forced — to undertake the explication of the text of the work before doing anything else. But experience has shown us by now that the drift and shape of an "obscure" poem or novel can be grasped for the purposes of art without being "worked out." Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself."

“The main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda, that kitsch is more pliable to this end.”

“Complete honesty has nothing to do with "purity" or naivety. The full truth is unattainable to naivety, and the completely honest artist is not pure in heart.”

“The superior artist is the one who knows how to be influenced.”

“It has become apparent that art can have a startling impact without really being or saying anything startling — or new. The character itself of being startling, spectacular, or upsetting has become conventionalized, part of safe good taste.”

“Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art.”

“the dividing line between the painterly and the linear is by no means a hard and fast one.”