“A creator is not in advance of his generation but he is the first of his contemporaries to be conscious of what is happening to his generation.
A creator who creates, who is not an academician, who is not someone who studies in a school where the rules are already known, and of course being known they no longer exist, a creator then who creates is necessarily of his generation. His generation lives in its contemporary way but they only live in it. In art, in literature, in the theatre, in short in everything that does not contribute to their immediate comfort they live in the preceding generation.”

On Boswell’s Life of Johnson (1831)

Selected Articles

"How to Love God" (12 September 1954).
General sources
Context: When I say I am the Avatar, there are a few who feel happy, some who feel shocked, and many who hearing me claim this, would take me for a hypocrite, a fraud, a supreme egoist, or just mad. If I were to say every one of you is an Avatar, a few would be tickled, and many would consider it a blasphemy or a joke. The fact that God being One, Indivisible and equally in us all, we can be nought else but one, is too much for the duality-conscious mind to accept. Yet each of us is what the other is. I know I am the Avatar in every sense of the word, and that each one of you is an Avatar in one sense or the other.
It is an unalterable and universally recognized fact since time immemorial that God knows everything, God does everything, and that nothing happens but by the Will of God. Therefore it is God who makes me say I am the Avatar, and that each one of you is an Avatar. Again, it is He Who is tickled through some, and through others is shocked. It is God Who acts, and God Who reacts. It is He Who scoffs, and He Who responds. He is the Creator, the Producer, the Actor and the Audience in His own Divine Play.

1930s, Die verfluchten Hakenkreuzler. Etwas zum Nachdenken (1932)

The Tall Office Building Artistically Considered (1896)
Context: We must now heed the imperative voice of emotion.
It demands of us, What is the chief characteristic of the tall office building? And at once we answer, it is lofty. This loftiness is to the artist-nature its thrilling aspect. It is the very open organ-tone in its appeal. It must be in turn the dominant chord in his expression of it, the true excitant of his imagination. It must be tall, every inch of it tall. The force and power of altitude must be in it the glory and pride of exaltation must be in it. It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line, — that it is the new, the unexpected, the eloquent peroration of most bald, most sinister, most forbidding conditions.
The man who designs in this spirit and with the sense of responsibility to the generation he lives in must be no coward, no denier, no bookworm, no dilettante. He must live of his life and for his life in the fullest, most consummate sense. He must realize at once and with the grasp of inspiration that the problem of the tall office building is one of the most stupendous, one of the most magnificent opportunities that the Lord of Nature in His beneficence has ever offered to the proud spirit of man.
That this has not been perceived — indeed, has been flatly denied — is an exhibition of human perversity that must give us pause.

For My Legionaries: The Iron Guard (1936), Politics

[2019, Esoterism as Principle and as Way, World Wisdom, 190, 978-1-93659765-9]
God, Beauty

Source: 1950s, The Organizational Revolution: A study in the ethics of economic organization, 1953, p. 80, quoted in: Paul S. Adler eds. (2009) The Oxford Handbook of Sociology and Organization Studies: Classical Foundations. p. 552

His counsel on Humanism in "A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics", p. 32