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How is it that books ever come to be written? Is literary quality influenced by politics? Is an authoring-machine possible? What are the motives for writing?
From: Essays, Prevention of Literature (1946)
But after all, how is it that books ever come to be written? Above a quite low level, literature is an attempt to influence the viewpoint of one's contemporaries by recording experience. And so far as freedom of expression is concerned, there is not much difference between a mere journalist and the most "unpolitical" imaginative writer. The journalist is unfree, and is conscious of unfreedom, when he is forced to write lies or suppress what seems to him important news; the imaginative writer is unfree when he has to falsify his subjective feelings, which from his point of view are facts. He may distort and caricature reality in order to make his meaning clearer, but he cannot misrepresent the scenery of his own mind; he cannot say with any conviction that he likes what he dislikes, or believes what he disbelieves. If he is forced to do so, the only result is that his creative faculties will dry up. Nor can he solve the problem by keeping away from controversial topics. There is no such thing as a genuinely non-political literature, and least of all in an age like our own, when fears, hatreds, and loyalties of a directly political kind are near to the surface of everyone's consciousness. Even a single taboo can have an all-round crippling effect upon the mind, because there is always the danger that any thought which is freely followed up may lead to the forbidden thought. ...
To begin with, bureaucrats and other "practical" men usually despise the poet too deeply to be much interested in what he is saying. Secondly, what the poet is saying -- that is, what his poem "means" if translated into prose -- is relatively unimportant, even to himself. The thought contained in a poem is always simple, and is no more the primary purpose of the poem than the anecdote is the primary purpose of the picture. A poem is an arrangement of sounds and associations, as a painting is an arrangement of brushmarks. For short snatches, indeed, as in the refrain of a song, poetry can even dispense with meaning altogether. It is therefore fairly easy for a poet to keep away from dangerous subjects and avoid uttering heresies; and even when he does utter them, they may escape notice. But above all, good verse, unlike good prose, is not necessarily an individual product.
Cf. Rilke, Letter to a Young Poet | Plato, Whom are we talking to? | Kierkegaard, My work as an author | Emerson, Self-knowledge | Gibson - McRury, Discovering one's face | Emerson, We differ in art, not in wisdom | Joyce, Portrait of the Artist
