To Know That No One Before You

It Is Strange That The Tactile Sense, Which Is So Infinitely Less Precious To Men Than Sight, Becomes At Critical Moments Our Main, If Not Only, Handle To Reality.

To A Greater Or Lesser Extent There Goes On In Every Person A Struggle Between Two Forces: The Longing For Privacy And The Urge To Go Places: The Introversion, Interest Directed Within Oneself Toward One's Own Inner Life Of Vigorous Thought And Fancy; And Extroversion, Interest Directed Outward, Toward The External World Of People And Tangible Values.

A Change Of Environment Is The Traditional Fallacy Upon Which Doomed Loves, And Lungs, Rely.

But As Van Casually Directed The Searchlight Of Backthought Into That Maze Of The Past Where The Mirror-lined Narrow Paths Not Only Took Different Turns, But Used Different Levels (as A Mule-drawn Cart Passes Under The Arch Of A Viaduct Along Which A Motor Skims By), He Found Himself Tackling, In Still Vague And Idle Fashion, The Science That Was To Obsess His Mature Years - Problems Of Space And Time, Space Versus Time, Time-twisted Space, Space As Time, Time As Space - And Space Breaking Away From Time, In The Final Tragic Triumph Of Human Cogitation: I Am Because I Die.

Although I Do Not Care For The Slogan "art For Art's Sake", There Can Be No Question That What Makes A Work Of Fiction Safe From Larvae And Rust Is Not Its Social Importance But Its Art, Only Its Art.