Childhood lasts all through life. It returns to animate broad sections of adult life... Poets will help us to find this living childhood within us, this permanent, durable immobile world.
Gaston BachelardRead
Nobody knows that in reading we are re-living our temptations to be a poet. All readers who have a certain passion for reading, nurture and repress, through reading, the desire to become a writer.
Interpretation
This quote explores the connection between reading and the desire to write, suggesting that reading stimulates our inner poet.
Gaston Bachelard reflects on the powerful relationship between reading and writing. He posits that when we engage in reading, we are not only absorbing the thoughts and emotions of others but also confronting our own unfulfilled aspirations to create. This desire to express ourselves as writers is nurtured in the act of reading, as we resonate with the language and ideas presented, even if we choose to suppress our inclination to write.
In practice
In a book club discussion about the impact of reading on creativity.
Childhood lasts all through life. It returns to animate broad sections of adult life... Poets will help us to find this living childhood within us, this permanent, durable immobile world.
Of course, any simplification runs the risk of mutilating reality; but it helps us establish perspectives.
Ideas are refined and multiplied in the commerce of minds. In their splendor, images effect a very simple communion of souls.
In order to dream so far, is it enough to read? Isn't it necessary to write? Write as in our schoolboy past, in those days when, as Bonnoure says, the letters wrote themselves one by one, either in their gibbosity or else in their pretentious elegance? In those days, spelling was a drama, our drama of culture at work in the interior of a word.
How is it possible not to feel that there is communication between our solitude as a dreamer and the solitudes of childhood? And it is no accident that, in a tranquil reverie, we often follow the slope which returns us to our childhood solitudes.
The reverie we intend to study is poetic reverie. This is a reverie which poetry puts on the right track, the track an expanding consciousness follows. This reverie is written, or, at least, promises to be written. It is already facing the great universe of the blank page. Then images begin to compose and fall into place.
Race is the true protagonist of the American novel. Our most popular classic fictions have known this, from 'Moby Dick' to 'Beloved;' all these books take on race or talk it out, often in other forms; they are less 'horror stories for boys' than ghost stories from a haunted conscience.
I emphasize the distinction between brackets and no brackets because it will affect your reading experience, if you will allow it. Brackets are exciting. Even though you are approaching Sappho in translation, that is no reason you should miss the drama of trying to read a papyrus torn in half or riddled with holes or smaller than a postage stamp--brackets imply a free space of imaginal adventure.
Fiction is history, human history, or it is nothing.
If certain books are to be termed 'immigrant fiction,' what do we call the rest? Native fiction? Puritan fiction? This distinction doesn't agree with me.
If a writer knows what he or she is doing, I'll go along for the ride. If he or she doesn't... well, I'm in my fifties now, and there are a lot of books out there. I don't have time to waste with the poorly written ones.
I am one of the writers who wish to create serious works of literature which dissociate themselves from those novels which are mere reflections of the vast consumer cultures of Tokyo and the subcultures of the world at large.
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