All Quotes

"The imagination eulogized by Baudelaire is in his own case more often than not a synonym for desire or despair. His critical exigencies are, like those of the profoundly sick man that he was, harsh and imperative and illusory in the sense of release temporarily obtained. Yet imagination is also the faculty that gives Baudelaire a royal sense of equality with other creative artists; he uses his status as a poet to boost his activities as a critic, claiming, with total justification in his case, that criticism is a creative affair, a fine rather than applied art."

"Being pre-eminently a moralist, he needed a medium that enabled him to illustrate a moral insight as briefly and vividly as possible. Being an artist and sensualist, he needed a medium that was epigrammatic or aphoristic, but allowed him scope for fantasy and for that element of suggestiveness which he considered essential to beauty."

"Anna Margolin was greatly influenced by Baudelaire, Verlaine, and Rimbaud..."

"Baudelaire's words about the albatross aptly apply to the nineteenth century: "He is affixed to the earth by his tent of giant wings."""

"He had brought a volume of Baudelaire which we read a few pages of when we had the time."

"Baudelaire is the great symbol of l’art pour l’art (art for the sake of art): sickness as beauty. Baudelaire is thus Liberalism in literature, disease as a principle of Life, crisis as health, morbidity as soul-life, disintegration as purpose."

"Poe with a cross, that's what you are, adored of the gangster age."

"The poet, says Baudelaire, is a decipherer, a Kabbalist of reality, a decoder. Ordinary life, if it is not a message in code, a system of symbols for something else, is unacceptable. It must be a cryptogram; it can't be what it seems. The poet's task is to decode the incomprehensible obvious. His life becomes a deliberately constructed paranoia, as Rimbaud, Breton, Artaud were to say generations later.As we read him, we discover that Baudelaire believes in the charm, the incantation, the cryptogram, but he ceases to believe in the secret. The spirits have not risen. The code says nothing. This is the mystery concealed by the disorder of the world. The visionary experience ends in itself; the light of the illuminated comes only from and falls only on himself."

"Delacroix, Wagner, Baudelaire — all great theorists, bent on dominating other minds by sensuous means. Their one dream was to create the irresistible effect — to intoxicate, or overwhelm. They looked to analysis to provide them with the keyboard on which to play, with certainty, on man's emotions, and they sought in abstract meditation they key to sure and certain action upon their subject — man's nervous and psychic being."

"The heresies we should fear are those which can be confused with orthodoxy."

"But what a perfection of rottenness in a philosophy!"

"Oh Baudelaire... He used to be enormously important to me. It's thanks to him that I was able to get through the war [in Paris, during 1940 – 1945 Van Velde had a long and painful break, with only a few paintings he finished]. A true loyal mind without hypocrisy. The most universal spirit. The greatest Frenchman. I have always been much less interested in painters [than Baudelaire - a great surprise to hear for Charles Juliet the interviewer]."

"Gautier says, “Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists.” In other words, Baudelaire condemned Rousseauism in all its forms. Today, Rousseauism has so triumphed that the arts and the avant-garde are synonymous with liberalism, an error enforced by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse."

"Notwithstanding his desperate effort to realize Poe’s idea, he [Baudelaire] only proved Poe correct, who had said that no man can bare his heart quite naked; there always will be something held back, something false ostentatiously thrust forward. The grimace, the attitude, the pomp of rhetoric are so many buffers between the soul of man and the sharp reality of published confessions."

"But to explore the invisible and to hear the unheard are very different from reviving the dead: Baudelaire is therefore first among seers, the king of poets, a true God. And yet even he lived in too aestheticized a world; and the forms for which he is praised are really quite trite: the inventions of the unknown demand new forms."

"If the pages of this book contain some successful verse, the reader must excuse me the discourtesy of having usurped it first. Our nothingness differs little; it is a trivial and chance circumstance that you should be the reader of these exercises and I their author."

"Some days past I have found a curious confirmation of the fact that what is truly native can and often does dispense with local color; I found this confirmation in Gibbon's Decline and Fall of the Roman Empire. Gibbon observes that in the Arabian book par excellence, in the Koran, there are no camels; I believe if there were any doubt as to the authenticity of the Koran, this absence of camels would be sufficient to prove it is an Arabian work. It was written by Mohammed, and Mohammed, as an Arab, had no reason to know that camels were especially Arabian; for him they were part of reality, he had no reason to emphasize them; on the other hand, the first thing a falsifier, a tourist, an Arab nationalist would do is have a surfeit of camels, caravans of camels, on every page; but Mohammed, as an Arab, was unconcerned: he knew he could be an Arab without camels. I think we Argentines can emulate Mohammed, can believe in the possibility of being Argentine without abounding in local color."

"Wilde was not a great poet nor a consummate prose writer. He was a very astute Irishman who encompassed in epigrams an esthetic credo which others before him scattered in the space of long pages. He was an enfant terrible."

"That one individual should awaken in another memories that belong to still a third is an obvious paradox."

"It is worth remembering that every writer begins with a naively physical notion of what art is. A book for him or her is not an expression or a series of expressions, but literally a volume, a prism with six rectangular sides made of thin sheets of papers which should include a cover, an inside cover, an epigraph in italics, a preface, nine or ten parts with some verses at the beginning, a table of contents, an ex libris with an hourglass and a Latin phrase, a brief list of errata, some blank pages, a colophon and a publication notice: objects that are known to constitute the art of writing."

"Reading … is an activity subsequent to writing: more resigned, more civil, more intellectual."

"The vast ineptitude of his pretense would be a convincing proof that this was no fraud."

"Mir Bahadur Ali is, as we have seen, incapable of evading the most vulgar of art's temptations: that of being a genius."

"Your unforgivable sins do not allow you to see my splendor."

"The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it."

"Everything would be in its blind volumes. Everything: the detailed history of the future, Aeschylus' The Egyptians, the exact number of times that the waters of the Ganges have reflected the flight of a falcon, the secret and true nature of Rome, the encyclopedia Novalis would have constructed, my dreams and half-dreams at dawn on August 14, 1934, the proof of Pierre Fermat's theorem, the unwritten chapters of Edwin Drood, those same chapters translated into the language spoken by the Garamantes, the paradoxes Berkeley invented concerning Time but didn't publish, Urizen's books of iron, the premature epiphanies of Stephen Dedalus, which would be meaningless before a cycle of a thousand years, the Gnostic Gospel of Basilides, the song the sirens sang, the complete catalog of the Library, the proof of the inaccuracy of that catalog. Everything: but for every sensible line or accurate fact there would be millions of meaningless cacophonies, verbal farragoes, and babblings. Everything: but all the generations of mankind could pass before the dizzying shelves—shelves that obliterate the day and on which chaos lies—ever reward them with a tolerable page."

"The universe (which others call the Library) is composed of an indefinite and perhaps infinite number of hexagonal galleries, with vast air shafts between, surrounded by very low railings."

"Like all those possessing a library, Aurelian was aware that he was guilty of not knowing his in its entirety."

"From these two incontrovertible premises he deduced that the Library is total and that its shelves register all the possible combinations of the twenty-odd orthographical symbols (a number which, though extremely vast, is not infinite). Everything: the minutely detailed history of the future, the archangels' autobiographies, the faithful catalogues of the Library, thousands and thousands of false catalogues, the demonstration of the fallacy of those catalogues, the demonstration of the fallacy of the true catalogue, the Gnostic gospel of Basilides, the commentary on that gospel, the commentary on the commentary on that gospel, the true story of your death, the translation of every book in all languages, the interpolations of every book in all books."

"There is no combination of characters one can make — dhcmrlchtdj, for example — that the divine Library has not foreseen and that in one or more of its secret tongues does not hide a terrible significance. There is no syllable one can speak that is not filled with tenderness and terror, that is not, in one of those languages, the mighty name of a god."

"I know of one semibarbarous zone whose librarians repudiate the "vain and superstitious habit" of trying to find sense in books, equating such a quest with attempting to find meaning in dreams or in the chaotic lines on the palms of one's hand."

"Que el cielo exista, aunque mi lugar sea el infierno."

"El original es infiel a la traducción."

"I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out post cards. . . I saw the oblique shadow of some ferns on the floor of a hot-house; I saw tigers, emboli, bison, ground swells and armies; I saw all the ants in the world."

"Dictatorships foster oppression, dictatorships foster servitude, dictatorships foster cruelty; more abominable is the fact that they foster idiocy."

"In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.<!--"

"There is nothing very remarkable about being immortal; with the exception of mankind, all creatures are immortal, for they know nothing of death. What is divine, terrible, and incomprehensible is to know oneself immortal."

"There are no moral or intellectual merits. Homer composed the Odyssey; if we postulate an infinite period of time, with infinite circumstances and changes, the impossible thing is not to compose the Odyssey, at least once."

"No one is anyone, one single immortal man is all men. Like Cornelius Agrippa, I am god, I am hero, I am philosopher, I am demon and I am world, which is a tedious way of saying that I do not exist."

"Any life, however long and complicated it may be, actually consists of a single moment — the moment when a man knows forever more who he is."

"Besides, time, which despoils castles, enriches verses . . . Time broadens the scope of verses and I know of some which, like music, are everything for all men."

"There's no need to build a labyrinth when the entire universe is one."

"The minotaur more than justifies the existence of the labyrinth."

"His many years had reduced and polished him the way water smooths and polishes a stone or generations of men polish a proverb."

"I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature. [...] The baroque is the final stage in all art, when art flaunts and squanders its resources."

"It is universally held that the unicorn is a supernatural being and of auspicious omen; so say the odes, the annals, the biographies of worthies, and other texts whose authority is unimpeachable. Even village women and children know that the unicorn is a lucky sign. But this animal does not figure among the barnyard animals, it is not always easy to come across, it does not lend itself to zoological classification. Nor is it like the horse or bull, the wolf or deer. In such circumstances we may be face to face with a unicorn and not know for sure that we are. We know that a certain animal with a mane is a horse and that a certain animal with horns is a bull. We do not know what the unicorn looks like."

"To die for a religion is easier than to live it absolutely."

"Villari took no notice of them because the idea of a coincidence between art and reality was alien to him. Unlike people who read novels, he never saw himself as a character in a work of art."

"Years of solitude had taught him that, in one's memory, all days tend to be the same, but that there is not a day, not even in jail or in the hospital, which does not bring surprises, which is not a translucent network of minimal surprises."

"Every novel is an ideal plane inserted into the realm of reality."