"First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation, a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on."

“How can we expect novelists to be moral, when their trade forces them to treat every end they meet as no more than an imperfect means to a novel?”

“Most of us know, now, that Rousseau was wrong: that man, when you knock his chains off, sets up the death camps. Soon we shall know everything the eighteenth century didn't know, and nothing it did, and it will be hard to live with us.”

“Imagism was a reductio ad absurdum of one or two tendencies of romanticism, such a beautifully and finally absurd one that it is hard to believe it existed as anything but a logical construction; and what imagist found it possible to go on writing imagist poetry? A number of poets have stopped writing entirely; others, like recurring decimals, repeat the novelties they commeced with, each time less valuably than before. And there are surrealist poetry, and political poetry, and all the othe refuges of the indigent.”

“The weight and concentration of the poems fall upon things , in their tough, laconic, un-get-pastable plainness: they have kept the stolid and dangerous inertia of the objects of the sagas — the sword that snaps, the man looking at his lopped-off leg and saying, “That was a good stroke.”

“When we read what Goethe says about men we are ashamed of what we have said; when we read what he says about painting and statues we are ashamed of what Goethe has said.”

“We always tend to distrust geniuses about genius, as if what they say didn’t arouse much empathy in us, or as if we were waiting till some more reliable source of information came along...”