“A poem is one undivided unimpeded expression fallen ripe into literature, and it is undividedly and unimpededly received by those for whom it was matured.”

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time
Context: In literature you don't just read one poem or novel after another, but enter into a complete world of which every work of literature forms part. This affects the writer as much as it does the reader.

The Educated Imagination (1963), Talk 3: Giants in Time

Source: The Conquest of Fear (1921), Chapter III : God And His Self-Expression, § VIII
Context: I was to see myself as God's Self-Expression working with others who were also His Self-Expression to the same extent as I. It was in the fact of our uniting together to produce His Self-Expression that I was to look for my security. No one could effectively work against me while I was consciously trying to work with God. Moreover, it was probable that no one was working against me, or had any intention of working against me, but that my own point of view being wrong I had put the harmonious action of my life out of order. Suspicion always being likely to see what it suspects the chances were many that I was creating the very thing I suffered from.
This does not mean that in our effort to reproduce harmonious action we should shut our eyes to what is evidently wrong, or blandly ignore what is plainly being done to our disadvantage. Of course not! One uses all the common-sense methods of getting justice for oneself and protecting one's own interests. But it does mean that when I can no longer protect my own interests, when my affairs depend upon others far more than on myself — a condition in which we all occasionally find ourselves — I am not to fret myself, not to churn my spirit into nameless fears. I am not a free agent. Those with whom I am associated are not free agents. God is the one supreme command. He expresses Himself through me; He expresses Himself through them; we all.

Source: The Book of Disquiet

Volume 1, p. 191
The Prophets (1962)

Source: The Life of Poetry (1949), p. 181
Context: The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent.... The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.
These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form.
A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.

Address to the Swedish Academy (20 December 1954)

Source: The Valley of Bones