“…I’ve seen the world tell us with wars and real estate developments and bad politics and odd court decisions that our lives don’t matter. That may be because we are too many. Architecture and application form, modern life says that with so many of us we can best survive by ignoring identity and acting as it individual differences do not exist. Maybe the narcissism academics condemn in creative writers is but a last reaching for a kind of personal survival. Anyway, as a sound psychoanalyst once remarked to me dryly, narcissism is difficult to avoid. When we are told in dozens of insidious ways that our lives don’t matter, we may be forced to insist, often far too loudly, that they do.”

“I told him the truth, that I loved him and didn't regret anything about our lives together. But do we ever 'tell the truth, the whole truth, and nothing but the truth, so help me God' as my father used to say, to those we love? Or even to ourselves? Don't even the best and most fortunate of lives hint at other possibilities, at a different kind of sweetness and, yes, bitterness too? Isn't this why we can't help feeling cheated, even when we know we haven't been?”

“Even our best qualities can turn against us, and when they do we are usually the last to know.”

“I caution against communication because once language exist only to convey information, it is dying.In news articles the relation of the words to the subject is a strong one. The relation of the words to the writer is weak. (Since the majority of your reading has been newspapers, you are used to seeing language function this way).When you write a poem these relations must reverse themselves: The relation of the word to the subject must weaken – the relation of the words to the writer (you) must take on strength. This is probably the hardest thing about writing poemsIn a poem you make something up, say for example a town, but an imagined town is at least as real as an actual town. If it isn’t you may be in the wrong business.Our triggering subjects, like our words, come from obsessions we must submit to, whatever the social cost. It can be hard. It can be worse 40 years from now if you feel you could have done it and didn’t.RICHARD HUGOPublic versus private poets:With public poets the intellectual and emotional contents of the words are the same for the reader as for the writer. With the private poet, the words, at least certain key words, mean something to the poet they don’t mean to the reader. A sensitive reader perceives this relation of poet to word and in a way that relation – the strange way the poet emotionally possesses his vocabulary – is one of the mysteries and preservative forces of the art.If you are a private poet, then your vocabulary is limited by your obsessions.In fact, most poets write the same poem over and over. (Wallace Stevens was honest enough not to try to hide it. Frost’s statement that he tried to make every poem as different as possible from the last one is a way of saying that he knew it couldn’t be).”

“Our civilization rests on a faulty premise, that the world is physical and mechanical, energy and matter only. We do not pay for it in our bridges, we pay for it in the quality of our lives. " ”

“One writer said that the door of history turns on small hinges, and so do people’s lives. If we were to apply that maxim to our lives, we could say that we are the result of many small decisions. In effect, we are the product of our choices. We must develop the capacity to recall the past, to evaluate the present, and to look into the future in order to accomplish in our lives what the Lord would have us do.”

“We may be indifferent to the death penalty and not declare ourselves either way so long as we have not seen a guillotine with our own eyes. But when we do, the shock is violent, and we are compelled to choose sides, for or against... Death belongs to God alone.”