It is better to live in a state of impermanence than in one of finality. - Gaston Bachelard

"In my opinion, for Baudelaire, the word vast is a vocal value. It is a word that is pronounced, never only read, never only seen in the objects to which it is attached. It is one of those words that a writer always speaks softly while he is writing it. Whether in verse or in prose, it has a poetic effect, which is also an effect of vocal poetry. This word immediately stands out from the words that surround it, from the images, and perhaps, even, from the thought. It is a "power of the word." Indeed, whenever we read this word in the measure of one of Baudelaire's verses, or in the periods of his prose poems, we have the impression that he forces us to pronounce it. The word vast, then, is a vocable of breath. It is placed on our breathing, which must be slow and calm. And the fact is that always, in Baudelaire's poetics, the word vast evokes calm, peace and serenity. It expresses a vital, intimate conviction. It transmits to our ears the echo of the secret recesses of our being. For this word bears the mark of gravity, it is the enemy of turmoil, opposed to the vocal exaggerations of declamation. In diction enslaved to strict measure, it would be shattered. The word vast must reign over the peaceful silence of being."

If I were asked to name the chief benefit of the house, I should say: the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.

A prisoner paints a landscape on the wall of his cell
showing a miniature train entering a tunnel. When his
jailers come to get him, he asks them politely to 'wait a moment, to allow me to verify something in the little train in my picture. As usual, they started to laugh, because they considered me to be weak-minded...I made myself very tiny, entered into my picture and climbed into the little train, which started moving, then disappeared into the darkness of the tunnel. For a few seconds longer, a bit of flaky smoke could be seen coming out of the round hole. Then this smoke blew away, and with it the picture, and with the picture, my person ...' How many times poet-painters, in their prisons, have broken through walls, by way of a tunnel! How many times, as they painted their dreams, they have escaped through a crack in the wall! And to get out of prison all means are good ones. If need be, mere absurdity can be a source of freedom.