Belief in one's identity as a poet or writer prior to the acid test of publication is as naive and harmless as the youthful belief in one's immortality... and the inevitable disillusionment is just as painful.
Interpretation
Believing you are a writer before being published is naive and can lead to painful disillusionment.
In this quote, Dan Simmons suggests that having a self-image as a writer or poet without the validation of publication can be an innocent but ultimately misplaced belief. This naivety, akin to youthful notions of immortality, can lead to a harsh awakening when faced with the realities of the writing world, emphasizing that the journey to recognition and success is fraught with challenges and potential disappointment.
In practice
During a creative writing workshop, one might use this quote to discuss the challenges and realities of becoming a published author.
Poetry is only secondarily about words. Primarily, it is about truth. I dealt with the Ding an Sich, the substance behind the shadow, weaving powerful concepts, similes, and connections the way an engineer would raise a skyscraper with the whiskered-alloy skeleton being constructed long before the glass and plastic and chromaluminum appears.
I loved you backward and forward in time. I loved you beyond boundaries of time and space.
Words bend our thinking to infinite paths of self-delusion, and the fact that we spend most of our mental lives in brain mansions built of words means that we lack the objectivity necessary to see the terrible distortion of reality which language brings.
I now understand the need for faith - pure, blind, fly-in-the-face-of-reason faith - as a small life preserver in the wild and endless sea of a universe ruled by unfeeling laws and totally indifferent to the small, reasoning beings that inhabit it.
I think I belong to America's last generation of novelists. Novelists will come one by one from now on, not in seeming families, and will perhaps write only one or two novels, and let it go at that.
The poet can only write the poems; it takes the reader to complete the meaning.
What fiction offers us is an intimacy shorn of the messy contingencies of human existence - gender, race, class or age. Those moments of transcendence when we exclaim 'You know exactly what I mean!' depend for much of their force on the anonymous character of the intimacy between writer and reader.
I'm not sure that it's possible to write a novel about people who don't transgress or stumble, people who don't surprise themselves with the things they do, people who can explain all their actions with perfect logical consistency. At least it's not possible for me to write that sort of novel.
Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
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