W. H. Auden Writing Quotations

In relation to a writer, most readers believe in the Double Standard: they may be unfaithful to him as often as they like, but he must never, never be unfaithful to them.

A poet can write about a man slaying a dragon, but not about a man pushing a button that releases a bomb.

Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.

It is a sad fact about our culture that a poet can earn much more money writing or talking about his art than he can by practicing it.

Fame often makes a writer vain, but seldom makes him proud.

No poet or novelist wishes he were the only one who ever lived, but most of them wish they were the only one alive, and quite a number fondly believe their wish has been granted.

But if a stranger in the train asks me my occupation, I never answer "writer" for fear that he may go on to ask me what I write, and to answer "poetry" would embarrass us both, for we both know that nobody can earn a living simply by writing poetry.

I just try to put the thing out and hope somebody will read it. Someone says: 'Whom do you write for?' I reply: 'Do you read me?' If they say 'Yes,' I say, 'Do you like it?' If they say 'No,' then I say, 'I don't write for you.'

Our sufferings and weaknesses, in so far as they are personal, are of no literary interest whatsoever. They are only interesting in so far as we can see them as typical of the human condition.

It's frightfully important for a writer to be his age, not to be younger or older than he is. One might ask, "What should I write at the age of sixty-four," but never, "What should I write in 1940.

In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever.

Language is the mother, not the handmaiden, of thought; words will tell you things you never thought or felt before.

Caesar's double-bed is warm As an unimportant clerk Writes i do not like my work On a pink official form.

Aphorisms are essentially an aristocratic genre of writing. The aphorist does not argue or explain, he asserts; and implicit in his assertion is a conviction that he is wiser and more intelligent than his readers.

The chances are that, in the course of his lifetime, the major poet will write more bad poems than the minor, simply because major poets write a lot.

The poet who writes "free" verse is like Robinson Crusoe on his desert island: he must do all his cooking, laundry and darning for himself. In a few exceptional cases, this manly independence produces something original and impressive, but more often the result is squalor dirty sheets on the unmade bed and empty bottles on the unswept floor.

A poet, qua poet, has only one political duty, namely, in his own writing to set an example of the correct use of his mother tongue, which is always being corrupted. When words lose their meaning, physical force takes over.

How happy is the lot of the mathematician! He is judged solely by his peers, and the standard is so high that no colleague or rival can ever win a reputation he does not deserve. No cashier writes a letter to the press complaining about the incomprehensibility of Modern Mathematics and comparing it unfavorably with the good old days when mathematicians were content to paper irregularly shaped rooms and fill bathtubs without closing the waste pipe.

The element of craftsmanship in poetry is obscured by the fact that all men are taught to speak and most to read and write, while very few men are taught to draw or paint or write music.

Organic growth is a cyclical process; it is just as true to say that the oak is a potential acorn as it is to say the acorn is a potential oak. But the process of writing a poem, of making any art object, is not cyclical but a motion in one direction toward a definite end.

Attacking bad books is not only a waste of time but also bad for the character. If I find a book really bad, the only interest I can derive from writing about it has to come from myself, from such display of intelligence, wit and malice as I can contrive. One cannot review a bad book without showing off.

The ideal audience the poet imagines consists of the beautiful who go to bed with him, the powerful who invite him to dinner and tell him secrets of state, and his fellow-poets. The actual audience he gets consists of myopic schoolteachers, pimply young men who eat in cafeterias, and his fellow-poets. This means, in fact, he writes for his fellow-poets.