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In [The New Poetry] I had attacked the British poets’ nervous preference for gentility above all else, and their avoidance of the uncomfortable, destructive truths both of the inner life and of the present time.

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Above Attack Country Else Nervous Poet Preference

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You pause and attend: the heart beats in your chest; outside, the trees are thick with new leaves, a swallow dips over them, the light moves, people are going about their business.
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In the possibility of control over what seems essentially uncontrollable, in the coherence of the inchoate, and in its ability to create its own values.
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Now, if, as I think, writing should be, it’s a kind of risky trade.
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Since what happened in them was beyond the imagination, it was therefore also beyond art and all those human values on which art is traditionally based.
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When you make a bet, you’re saying something.
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in their nerve ends, not the facts of life but the facts of death and violence: absurd, random, gratuitous, unjustified, and inescapably part of the society we have created.
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Perhaps this is one reason why climbing has become increasingly hard as society has become increasingly, disproportionately, coddling.
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It puts domestic problems back into proportion and adds an element of seriousness to your drab, routine life.
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The point is that it looks like gambling because the language of the game is money.
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I mean being a writer is like being a psychoanalyst, but you don’t get any patients.
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