American playwright and novelist (1897–1975)
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I think myself as a fabulist, not a critic. I realize that every writer is necessarily a critic — that is, each sentence is a skeleton accompanied by enormous activity of rejection; and each selection is governed by general principles concerning truth, force, beauty, and so on. But, as I have just suggested, I believe that the practice of writing consists in more and more relegating all that schematic operation to the subconscious. The critic that is in every fabulist is like the iceberg — nine-tenths of him is underwater.
The type of the Inevitable is death. I remember well that in my youth I believed that I was certainly exempt from its operation. First when my daughter died, next when you were wounded, I knew that I was mortal; and now I regard those years as wasted, as unproductive, in which I was not aware that my death was certain, nay, momently possible. I can now appraise at a glance those who have not yet foreseen their death. I know them for the children they are. They think that by evading its contemplation they are enhancing the savor of life. The reverse is true: only those who have grasped their non-being are capable of praising the sunlight.