“Deliver me from Swedish furniture. Deliver me from clever art. May I never be complete. May I never be content. May I never be perfect.”

Source: Fight Club

Source: The Unabridged Journals of Sylvia Plath

It tells of his twilight, when the great battles were over and the great miracles long since performed; of how his enemies conspired against him and of that final war in the snowblind wastes beneath the Northern Lights; of the women he loved and of the choice he made between them; of how he broke his most sacred oath, and how finally all the things he had were taken from him save one. It ends with a wink. It begins in a quiet midwestern town, one summer afternoon in the quiet midwestern future. Away in the big city, people still sometimes glance up hopefully from the sidewalks, glimpsing a distant speck in the sky... but no: it's only a bird, only a plane — Superman died ten years ago. This is an imaginary story... aren't they all?
Whatever Happened to the Man of Tomorrow? (1986)

Part IV, Chapter VI
Les voix du silence [Voices of Silence] (1951)

Vague Thoughts On Art (1911)
Context: Art is the great and universal refreshment. For Art is never dogmatic; holds no brief for itself; you may take it, or you may leave it. It does not force itself rudely where it is not wanted. It is reverent to all tempers, to all points of view. But it is wilful — the very wind in the comings and goings of its influence, an uncapturable fugitive, visiting our hearts at vagrant, sweet moments; since we often stand even before the greatest works of Art without being able quite to lose ourselves! That restful oblivion comes, we never quite know when — and it is gone! But when it comes, it is a spirit hovering with cool wings, blessing us from least to greatest, according to our powers; a spirit deathless and varied as human life itself.

On the power of art in “Lucy Liu on making art to find a sense of belonging” https://www.cnn.com/style/article/lucy-liu-artsy/index.html in CNN (2019 Nov 28)

Source: Jesus or Christianity: A Study in Contrasts (1929), p. 32