“Let us all be happy and live within our means, even if we have to borrer [sic] money to do it with.”

Source: Tempted

Simple Recipes for Joy (2014)

The Life of Poetry (1949)
Context: Poetry is not; or seems not to be. But it appears that among the great conflicts of this culture, the conflict in our attitude toward poetry stands clearly lit. There are no guards built up to hide it. We call see its expression, and we can see its effects upon us. We can see our own conflict and our own resource if we look, now, at this art, which has been made of all the arts the one least acceptable.
Anyone dealing with poetry and the love of poetry must deal, then, with the hatred of poetry, and perhaps even Ignore with the indifference which is driven toward the center. It comes through as boredom, as name-calling, as the traditional attitude of the last hundred years which has chalked in the portrait of the poet as he is known to this society, which, as Herbert Read says, "does not challenge poetry in principle it merely treats it with ignorance, indifference and unconscious cruelty."
Poetry is foreign to us, we do not let it enter our daily lives.

Reverence for Life (1969)
Context: At sunset of the third day, near the village of Igendja, we moved along an island set in the middle of the wide river. On a sandback to our left, four hippopotamuses and their young plodded along in our same direction. Just then, in my great tiredness and discouragement, the phrase "Reverence for Life" struck me like a flash. As far as I knew, it was a phrase I had never heard nor ever read. I realized at once that it carried within itself the solution to the problem that had been torturing me. Now I knew that a system of values which concerns itself only with our relationship to other people is incomplete and therefore lacking in power for good. Only by means of reverence for life can we establish a spiritual and humane relationship with both people and all living creatures within our reach. Only in this fashion can we avoid harming others, and, within the limits of our capacity, go to their aid whenever they need us.

Games for Actors and non-Actors (1992)
Context: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!

During negotiations with Crook and others, in [Books on Google Play Congressional Serial Set, 1890, U.S. Government Printing Office, https://books.google.com/books?id=lQ0ZAAAAYAAJ, 1 March 2018, 59]

Art is the resurrection of eternal life.
Michel Henry, Seeing the invisible: On Kandinsky, Continuum, 2009, p. 142
Books on Culture and Barbarism, Seeing the Invisible: On Kandinsky (1988)

Introduction to Treasury of the Free World (1946)