The next stage of development, perhaps in the distant future, will be a social order under which there will be no need for the coercive power of the state.
There is no joy nobler than suffering for the sake of love for man.
The world is kept alive only by heretics.
To an artist, creating an image means being in love with it.
What we need in literature today are vast philosophic horizons... we need the most ultimate, the most fearsome, the most fearless "Why?" and "What next?".
The art of the word is painting + architecture + music.
When we remove the snowdrift piled up over Chekhov in recent years, we uncover a man profoundly agitated by social problems; a writer whose social ideals are the same as those we live by; a philosophy of the divinity of man, of fervent faith in man - the faith that moves mountains.
The highly complex, almost mathematical, nature of music creates for it an ironclad protection against the microbes of dilletantism, which penetrate much more easily into the fields of painting, literature, and the theater.
The latest literary discussions reflect a struggle between two artistic methods - romanticism and realism, with the latter clearly ascendant for the time being.
Only lifeless mechanisms move along faultlessly straight lines and compass circles. In art the surest way to destroy is to canonize one given form and one philosophy: that which is canonized quickly dies of obesity, of entropy.
None of us older writers had gone through such a school. We are all self-taught. And, of course, there is always, in such a school, the danger of goose-stepping, uniformed ranks. But the Serapion Brethren have already, it seems to me, outgrown this danger. Each of them has his own individuality and his own handwriting. The common thing they have derived from the studio is the art of writing with ninety-proof ink, the art of eliminating everything that is superfluous, which is, perhaps, more difficult than writing.
The literature of the immediate future will inevitably turn away from painting, whether respectably realistic or modern, and from daily life, whether old or the very latest and revolutionary, and turn to artistically realized philosophy.
It is the specialist's task to talk about means, about centimeters. An artist's task is to talk about the goal, about kilometers, thousands of kilometers. The organizing role of art consists of infecting the reader, of arousing him with pathos or irony -- the cathode and anode in literature. But irony that is measured in centimeters is pathetic, and centimeter-sized pathos is ridiculous. No one can be carried away by it. To stir the reader, the artist must speak not of means but of ends, of the great goal toward which mankind is moving.
Dogma, static positions, consonance - all these are obstacles to catching the disease of art, at least in its more complex forms.
Life itself today has lost its plane reality: it is projected, not along the old fixed points, but along the dynamic coordinates of Einstein, of revolution. In this new projection, the best-known formulas and objects become displaced, fantastic, familiar-unfamiliar. This is why it is so logical for literature today to be drawn to the fantastic plot, or to an amalgam of reality and fantasy.
To reflect the entire spectrum, the dynamics of the adventure novel must be invested with a philosophic synthesis of one kind or another.
