“We delight in our sensuous involvement with the materials of language, we long to join words to the world— to close the gap between ourselves and things — and we suffer from doubt and anxiety because of our inability to do so.”—Lyn Hejinian as quoted in Mark Doty’s The Art of Description: World into Word
“In the modern world, the system of implicit authorization and prohibitions exerts its influences on writers through their readers. An unread author is an author who is a victim of the worst kind of censorship, indifference—a censorship more effective than the Ecclesiastical Index. It is possible that the unpopularity of certain genres—poetry, for example, following Baudelaire and the Symbolists—is a result of the implicit censorship of a democratic and progressivist society. Bougeois rationalism is, in a manner of speaking, constitutionally averse to poetry. Hence poetry, from the beginning of the modern era—that is, since the last years of the eighteenth century—has beren a form of rebellion. Poetry is not a genre in harmony with the modern world; its innermost nature is hostile or indifferent to the dogmas of modern times, progress and the cult of the future. Of course some poets have sincerely and passionately believed in progressive ideals, but their works say something quite different.
Poetry, whatever the manifest content of the poem, is always a violation of the rationalism and morality of t bourgeois society. Our society believes in history: newspapers, radio, television, the now; poetry, by its very nature, is atemporal.”—Octavio Paz, Sor Juana or the Trappings of Faith
“the employment of dream techniques in the arts implied an effort to reach beyond the bounds of waking consciousness toward faculties that could grapple with unrestricted intuitions of time and space.”—the Banquet Years: The Origins of the Avant-Garde in France - 1885 to World War I