“Each of us must pay for the slightest damage he inflicts upon a universe created for indifference and stagnation, sooner or later, he will regret not having left it intact.”

Emotional Architecture as Compared to Intellectual (1894)
Context: Man, by means of his physical power, his mechanical resources, his mental ingenuity, may set things side by side. A composition, literally so called, will result, but not a great art work, not at all an art work in fact, but merely a more or less refined exhibition of brute force exercised upon helpful materials. It may be as a noise in lessening degrees of offensiveness, it can never become a musical tone. Though it shall have ceased to be vulgar in becoming sophistical, it will remain to the end what it was in the beginning: impotent to inspire — dead, absolutely dead.
It cannot for a moment be doubted that an art work to be alive, to awaken us to its life, to inspire us sooner or later with its purpose, must indeed be animate with a soul, must have been breathed upon by the spirit and must breathe in turn that spirit. It must stand for the actual, vital first-hand experiences of the one who made it, and must represent his deep-down impression not only of physical nature but more especially and necessarily his understanding of the out-working of that Great Spirit which makes nature so intelligible to us that it ceases to be a phantasm and becomes a sweet, a superb, a convincing Reality.

Source: Kafka on the Shore

Source: Letters from Abu Ghraib (2008), p. 92.

pg. 48
Pretty Mess book (2018)

Geronimo's Story of His Life (1907)

Ramblings In Cheapside (1890)

Letter to Nigel Nicolson (26 June 1957), quoted in Alistair Horne, Harold Macmillan, Volume II: 1957–1986 (London: Macmillan, 1989), p. 64
Prime Minister

Source: Lover Mine

Man and Socialism in Cuba (1965)