“And form this kind of thought has emerged a new conclusion: which is that it is not only childish of a writer to want readers to see what he sees, to understand the shape and aim of a novel as he sees it—his wanting this means that he has not understood a most fundamental point. Which is that the book is alive and potent and fructifying and able to promote thought and discussion only when its plan and shape and intention are not understood, because that moment of seeing the shape and plan and intention is also the moment when there isn't anything more to be got out of it.”

“The Maestro spoke again. "When we are not, at what point do we become?" I could not reply. For I had grasped no shape of his thoughts. I understood neither what he said nor his intent behind it.”

“It’s called an ‘accomplishment’, not an ‘intent-ishment’. You’ve got to BE it to SEE it. NO MORE EXCUSES - Decide what you want, create a plan, and get your ass out there!”

“When a writer receives praise or blame, when he arouses sympathy or is ridiculed, when he is loved or rejected, it is not on the strength of his thoughts and dreams as a whole, but only of that infinitesimal part which has been able to make its way through the narrow channel of language and the equally narrow channel of the reader's understanding. ”

“But what will he do when he sees only too clearly why his patient is ill; when he sees that it arises from his having no love, but only sexuality; no faith, because he is afraid to grope in the dark; no hope, because he is disillusioned by the world and by life; and no understanding, because he has failed to read the meaning of his own existence?”

“A book can never be anything more than the impress of its author's thoughts; and the value of these will lie either in the matter about which he has thought, or in the form which his thoughts take, in other words, what it is that he has thought about it.”