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"Sooner or later, however, a writer (or at least a writer of my type) finds himself at a crossroads: he has exhausted his initial experience of the w… - Václav Havel
"Sooner or later, however, a writer (or at least a writer of my type) finds himself at a crossroads: he has exhausted his initial experience of the world and the ways of expressing it and he must decide how to proceed from there. He can, of course, seek ever more brilliant ways of saying the things he has already said; that is, he can essentially repeat himself. Or he can rest in the position he achieved in his first burst of creativity, subordinate everything he learned to the interests of consolidating that position, and thus assure himself a place on Parnassus.
But he has a third option: he can abandon everything proven, step beyond his initial experience of the world, with which he is by now all too familiar, liberate himself from what binds him to his own tradition, to public expectation and to his own established position, and try for a new and more mature self-definition, one that corresponds to his present and authentic experience of the world. In short, he can find his "second wind." Anyone who chooses this route — the only one (if one wishes to go on writing) that genuinely makes sense — will not, as a rule, have an easy time of it. At this stage in his life, a writer is no longer a blank sheet of paper, and some things are hard to part with. His original elan, self-confidence, and spontaneous openness have gone, but genuine maturity is not yet in sight; he must, in fact, start over again, but in essentially more difficult conditions."
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About Václav Havel
Václav Havel (5 October 1936 – 18 December 2011) was a Czech writer and dramatist famous for his work in the Theatre of the Absurd, who became a politician and served as the last President of Czechoslovakia, and the first President of the Czech Republic.
Biography information from Wikiquote
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Vaclav Havel
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Additional quotes by Václav Havel
There is only one Art, whose sole criterion is the power, the authenticity, the revelatory insight, the courage and suggestiveness with which it seeks its truth. … Thus, from the standpoint of the work and its worth it is irrelevant to which political ideas the artist as a citizen claims allegiance, which ideas he would like to serve with his work or whether he holds any such ideas at all.
"Why was Solzhenitsyn driven out of his own country? Certainly not because he represented a unit of real power, that is, not because any of the regime's representatives felt he might unseat them and take their place in government. Solzhenitsyn's expulsion was something else: a desperate attempt to plug up the dreadful wellspring of truth, a truth which might cause incalculable transformations in social consciousness, which in turn might one day produce political debacles unpredictable in their consequences. And so the post-totalitarian system behaved in a characteristic way: it defended the integrity of the world of appearances in order to defend itself. For the crust presented by the life of lies is made of strange stuff. As long as it seals off hermetically the entire society, it appears to be made of stone. But the moment someone breaks through in one place, when one person cries out, "The emperor is naked!" — when a single person breaks the rules of the game, thus exposing it as a game — everything suddenly appears in another light and the whole crust seems then to be made of a tissue on the point of tearing and disintegrating uncontrollably."
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