"In this sense genuine artists are so bound up with their age that they cannot communicate separated from it. In this sense, too, the historical situation conditions the creativity. For the consciousness which obtains in creativity is not the superficial level of objectified intellectualization, but is an encounter with the world on a level that undercuts the subject-object split. "Creativity" to rephrase our definition, “is the encounter of the intensively conscious human being with his or her world."

“One does not become fully human painlessly.”

“Lacking positive myths to guide him, many a sensitive contemporary man finds only the model of the machine beckoning him from every side to make himself over into its image.”

“The practical implication is that one's goal is to live each moment with freedom, honesty and responsibility.”

“Kierkegaard, Nietzsche, and those who followed them accurately foresaw this growing split between truth and reality in Western culture, and they endeavored to call Western man back from the delusion that reality can be comprehended in an abstracted, detached way. But though they protested vehemently against arid intellectualism, they were by no means simple activists. Nor were they antirational. Anti-intellectualism and other movements in our day which make thinking subordinate to acting must not at all be confused with existentialism. Either alternative-making man subject or object-results in loosing the living, existing person.”

“We define religion as the assumption that life has meaning. Religion, or lack of it, is shown not in some intellectual or verbal formulations but in one's total orientation to life. Religion is whatever the individual takes to be his ultimate concern. One's religious attitude is to be found at that point where he has a conviction that there are values in human existence worth living and dying for.”

“When you write a poem, you discover that the very necessity of fitting your meaning into such and such a form requires you to search in your imagination for new meanings. You reject certain ways of saying it; you select others, always trying to form the poem again. In your forming, you arrive at new and more profound meanings than you had even dreamed of. Form is not a mere lopping off of meaning that you don't have room to put into your poem; it is an aid to finding new meaning, a stimulus to condensing your meaning, to simplifying and purifying it, and to discovering on a more universal dimension the essence you wish to express.”