How can we expect novelists to be moral, when their trade forces them to treat every end they meet as no more than an imperfect means to a novel? - Randall Jarrell

The characteristic poetic strategy of our time — refine your singularities — is something Auden has not learned; so his best poems are very peculiarly good, nearly the most interesting poems of our time. When he writes badly, we can afford to be angry at him, and he can afford to laugh at us.

One of the most obvious facts about grown-ups, to a child, is that they have forgotten what it is like to be a child. The child has not yet had the chance to know what it is like to be a grownup; he believes, even, that being a grownup is a mistake he will never make — when he grows up he will keep on being a child, a big child with power. So the child and grownup live in mutual love, misunderstanding, and distaste. Children shout and play and cry and want candy; grownups say Ssh! and work and scold and want steak. There is no disputing tastes as contradictory as these. It is not just Mowgli who was raised by a couple of wolves; any child is raised by a couple of grownups. Father and Mother may be nearer and dearer than anyone will ever be again — still, they are members of a different species. God is, I suppose, what our parents were; certainly the ogre of the stories is so huge, so powerful, and so stupid because that is the way a grownup looks to a child. Grownups forget or cannot believe that they seem even more unreasonable to children than children seem to them.

At night there are no more farmers, no more farms. At night the fields dream, the fields are the forest. The boy stands looking at the fox As if, if he looked long enough — he looks at it. Or is it the fox is looking at the boy? The trees can't tell the two of them apart.