As opposed to the representation of external phenomena, I perceive great art as the explosion of an unbearable inner conflict. That is to say: the artist prints what torments him or the object of his insatiable desire. Psychological obsessions, feelings that attack him violently… the great art is the consequence of an inner war. Exactly because of that, it rarely presents itself as pleasant. Intensity has nothing to do with peace…
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I am delighted to note my disagreements with the language police, which, like the customs police, claim to be the lady of reason. I find it amusing and I am proud of my rebellion. I feel close to the crucified artists who have always aroused my admiration…
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The evolution of poetry over the centuries gives us a false illusion of freedom gained, it seems to us that, over the centuries, the poets have been gradually getting rid of the ties of the verses until reaching the free verse. In part, the poets proved themselves capable of breaking old conventions, introducing new expressive resources (the enjambement, for example) and expanding the aesthetic possibilities of poetry. But it is false to think that, sitting down to compose, the poet feels free as to form, even in free verse. That, of course, if he is a good poet. But why? Because even if he gives up the metrics, the rhymes, varies the stanzas and extrapolates the limits of the verse, the poet will be bound by the rhythm. If he wants to compose a good poem, he is not free to put the words where he wants. Rhythm, the balance between tonic and tense syllables, cadenced movement of sounds: the day the poem that ignores these principles is considered good, we will all be—from illiterate to philistines—great poets.
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Interesting how the duty of originality haunts the average writer. I mean, before he can express himself with sincerity and strength, he has to be original. But originality, unless the writer deliberately uses a ready-made formula, plagiarizes and refuses to think independently, comes naturally. First, because the psychological interpretations of the facts, the relationship locked between the individual and the surrounding reality are variable and almost unique. Second, because biographies are absolutely individual, that is: each writer has unique experiences to be transmitted to his art. So unless he intends to be someone other than himself, any half dozen sincere lines will make the writer always look original.
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