The most insistent question put to the writer of “obscene” literature is: why did you have to use such language? […]
Someone has said that “the literary artist, having attained understanding, communicates that understanding to his readers. That understanding, whether of sexual or other matters, is certain to come into conflict with popular beliefs, fears and taboos, because these are, for the most part, based on error.” […]
People who would be revolted by drawings in Ecce Homo will gaze unblushingly at African pottery or sculpture no matter how much their taste or morals may be offended. In the same spirit they are inclined to be more tolerant of the obscene works of ancient authors. Why? Because even the dullest are capable of admitting to themselves that other epochs might, justifiably or not, have enjoyed other customs, other morals. As for the creative spirits of their own epoch, however, freedom of expression is always interpreted as license. The artist must conform to the current, and usually hypocritical, attitude of the majority. He must be original, courageous, inspiring and all that – but never too disturbing. He must say Yes while saying No. […]
It was demanded of [mankind] to know love, experience union and communion, and thus achieve liberation from the wheel of life and death. But we have chosen to remain this side of Paradise […] In a profound sense we are forever delaying the act. We flirt with destiny and lull ourselves to sleep with myth. We die in the throes of our own tragic legends […] If there is anything which deserves to be called “obscene” it is this oblique, glancing confrontation with the mysteries, this walking up to the edge of the abyss, enjoying all the ecstasies of vertigo and yet refusing to yield to the spell of the unknown.