Quotes of All Topics . Occasions . Authors
Just about everything significant in my life happened after I passed forty. I was a housewife and mother, but yearned to be a writer. I worked at my writing whenever I could snatch a moment, and I assembled several manuscripts. I was just about forty when my first novel, East Wind, West Wind, was published. Then a few months later came The Good Earth. My career was launched at last, and it has given me the richest possible satisfaction
It would be worth the while to select our reading, for books are the society we keep; to read only the serenely true; never statistics, nor fiction, nor news, nor reports, nor periodicals, but only great poems, and when they failed, read them again, or perchance write more. Instead of other sacrifice, we might offer up our perfect (teleia) thoughts to the gods daily, in hymns or psalms. For we should be at the helm at least once a day.
In order to get inside their skin, I have to identify with them. That includes even the ones who are complete bastards, nasty, twisted, deeply flawed human beings with serious psychological problems. Even them. When I get inside their skin and look out through their eyes, I have to feel a certain - if not sympathy, certainly empathy for them. I have to try to perceive the world as they do, and that creates a certain amount of affection.
To later Romans Ennius was the personification of the spirit of early Rome; by them he was called "The Father of Roman Poetry." We must remember how truly Greek he was in his point of view. He set the example for later Latin poetry by writing the first epic of Rome in Greek hexameter verses instead of in the old Saturnian verse. He made popular the doctrines of Euhemerus, and he was in general a champion of free thought and rationalism.
I give myself the luxury of time in shaping a song. It's very common for me to work three months or more on a single song. Plotting takes time and effort, for there are many false turns. I fill up pages and pages with my mistakes, thereby eliminating them. Eventually a trail is broken through this mountain of mistakes. Sometimes it's as easy as putting eggs in a basket; other times it's like trying to pound a ton of sand into a diamond.
I used to get letters from guys in prison. Anymore now I don't even open them. They'd ask me to please sign a couple of cards for their children. Then I see them on eBay two weeks later. Or the people that write and say, "You is one of my favorite cartoonists. I would like a drawing, please." I guess they encourage inmates to write letters to celebrities. It's like a way to make money by selling autographs or something. Give me a break.
I never think of my audience when I write a poem. I try to write out of whatever is haunting me; in order for a poem to feel authentic, I have to feel I'm treading on very dangerous ground, which can mean that the resulting revelations may prove hurtful to other people. The time for thinking about that kind of guilt or any collective sense of responsibility, however, occurs much later in the creative process, after the poem is finished.
I think being an editor really helped me take other people's notes on my writing. I'd get a note like 'It's too wet' or 'The first couple chapters are good, but then the rest of the pages were so wet that they were completely illegible' or 'Did you dip this in Sprite? This smells like Sprite. Why would you dip your novel in Sprite?' And instead of pushing back, I'd listen. That's an incredibly important skill for a young writer to have.
I wrote to find beauty and purpose, to know that love is possible and lasting and real, to see day lilies and swimming pools, loyalty and devotion, even though my eyes were closed, and all that surrounded me was a darkened room. I wrote because that was who I was at the core, and if I was too damaged to walk around the block, I was lucky all the same. Once I got to my desk, once I started writing, I still believed anything was possible.
A transition from an author's book to his conversation is too often like an entrance into a large city, after a distant prospect. Remotely, we see nothing but spires of temples and turrets of palaces, and imagine it the residence of splendour, grandeur, and magnificence; but when we have passed the gates, we find it perplexed with narrow passages, disgraced with despicable cottages, embarrassed with obstructions, and clouded with smoke.
If the motive of writing is for some people a kind of exercise in dirty laundry, that's one thing. I've always thought of my poems as meant to be overheard, as I think all of these poems are. It seems to me if you get experience right, even your most painful or humiliating experiences - if you get those experiences right for yourself and make discoveries as you go along and find for them some formal glue - they will be poems for others.
Usually when I finish the draft of a book, I'm sure I'll never write another one. I'm just that tired and sick of myself. But then another idea starts percolating. It usually begins with the narrator's name, then some idea that intrigues me about her life or situation. I try to ignore it as long as I can, because I know when I start writing, I'll be right back into it, every single day. But eventually, I just have to. It's a compulsion!
And if you're going to criticize me for not finishing the whole thing and tying it up in a bow for you, why, do us both a favor and write your own damn book, only have the decency to call it a romance instead of a history, because history's got no bows on it, only frayed ends of ribbons and knots that can't be untied. It ain't a pretty package, but then it's not your birthday that I know of so I'm under no obligation to give you a gift.
Everything has been for the [President] election for the last couple of months. Since the Democratic National Convention, it's been a dead run to get out as much content as possible and do as much as possible. Then, I go back to writing the screenplay I was working on, which is an original piece - a period piece that I will hopefully finish a couple of months after that, and hopefully I can convince some unsuspecting fool studio to buy.
Both light and shadow are the dance of Love. Love has no cause, it is the astrolabe of God's secrets. Lover and loving are inseparable and timeless. Although I may try to describe love, when I experience it, I am speechless. Although I may try to write about love, I am rendered helpless. My pen breaks, and the paper slips away at the ineffable place where lover loving and loved are one. Every moment is made glorious by the light of Love.
I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything. Or these lines will come into my head and I'll write 'em down in a little book, just little sets of lines, but I won't try to make stories or poems out of them. I'm doing a lot of that now, just the lines.
The healing that can grow out of the simple act of telling our stories is often quite remarkable. Even more remarkably, this healing is not just our own healing, it is the healing of all women. That's why, as we tell our stories to ourselves, it is also important to share them with others. This sharing brings a sense of kinship, of sisterhood. We understand that we are not alone in our efforts to become conscious, whole, healthy persons.
Many authors write like amateur blacksmiths making their first horseshoe; the clank of the anvil, the stench of the scorched leather apron, the sparks and the cursing are palpable, and this appeals to those who rank "sincerity" very high. Nabokov is more like a master swordsmith making a fine blade; nothing is amiss, nothing is too much, there is no fuss, and the finished product must be handled with great care, or it will cut you badly.
Work is style, and there is style without thought; not in theory, only in fact. When I take a sentence in my hand, raise it to the light, rub my hand across it, disjoin it, put it back together again with a comma added, raising the pitch in the front part; when I rub the grain of it, comb the fur of it, re-assemble the bones of it, I am making something that carries with it the sound of a voice, the firmness of a hand. Maybe little more.
There's a lot of craft in songwriting. The divine inspiration is when the idea comes. It may be a riff. It may be a word. It may be a phrase. It may be a title. Sometimes, in the best of both worlds, that divine inspiration extends through the whole song. I've literally sat down and written a song from beginning to end, almost complete lyrics and everything without ever stopping...in two minutes. The chorus of 'She's Gone' was like that.
There have been studies concluding that most people mostly know people only within their own social class - although such a conclusion would hardly surprise anyone. I think there's evidence to suggest that it's even narrower - the great majority of friends of Ivy Leaguers, for instance, are Ivy Leaguers. This narrows the pool of people who can write fiction cutting across class boundaries that's informed by their own personal experience.
The telephone conversation is, by its very nature, reactive, not reflective. Immediacy is its prime virtue. ... The letter, written in absorbed solitude, is an act of faith: it assumes the presence of humanity: world and self are generated from within: loneliness is courted, not feared. To write a letter is to be alone with my thoughts in the conjured presence of another person. I keep myself imaginative company. I occupy the empty room.
Plotting is like sex. Plotting is about desire and satisfaction, anticipation and release. You have to arouse your reader's desire to know what happens, to unravel the mystery, to see good triumph. You have to sustain it, keep it warm, feed it, just a little bit, not too much at a time, as your story goes on. That's called suspense. It can bring desire to a frenzy, in which case you are in a good position to bring off a wonderful climax.
I called the guys from Promise of the Real, whom I've been playing with, and they were all on the road. Right after I hung up the phone, I wrote another song and started writing another, and I'm going, "Hey, I can't wait. I should be doing this now!" My experience tells me that when it's there, it's there, and you can't make it wait. So I got Jimmy Keltner and Paul Bushnell, two good guys, and went in and did this record ["Peace Trail"].
Do we, as humans, having an ability to reason and to communicate abstract ideas verbally and in writing, and to form ethical and moral judgments using the accumulated knowledge of the ages, have the right to take the lives of other sentient organisms, particularly when we are not forced to do so by hunger or dietary need, but rather do so for the somewhat frivolous reason that we like the taste of meat? In essence, should we know better?
In my own writing, I've mostly abandoned end-rhyme, but wordplay is still a huge part of my process. I've written a series of mermaid poems in the last few years. The first one was called "The Straightforward Mermaid" which arose from my delight in that word combination. After that, I decided that future mermaid poems would have to be words ending in "d" or "t," which led to "The Deadbeat Mermaid," "The Morbid Mermaid" and so forth . . .
Bentham spent much of his life writing constitutions and proposing legal reform in the light of his utilitarianism. The evaluation of particular acts was hardly his concern. The psychology of his day was hedonistic and he worked in that framework and passed it on to Mill, but it is clear as day that Mill was not a hedonist in the sense in which we use that term today, though he used the language of pleasure and pain to express his views.
As for not getting things right: I constantly rerun social situations/conversations I experience/have throughout my head, and I'm always writing them down in notebooks or in word documents/the Internet. I feel like these habits and a generally good memory of people/the interactions I have with them (due to studying people having always been my main interest in life) have lead me to being very accurate in things I write in stories/essays.
As every writer has his use, every writer ought to have his patrons; and since no man, however high he may now stand, can be certain that he shall not be soon thrown down from his elevation by criticism or caprice, the common interest of learning requires that her sons should cease from intestine hostilities, and, instead of sacrificing each other to malice and contempt, endeavour to avert persecution from the meanest of their fraternity.
Sally Barris has a voice like sparkling crystal. You could have knocked me over with a feather the first time I heard her. Her writing is from a deep, yet innocent, place and her point of view is just a bit off center. I am excited for her, she is standing at the beginning of her journey in this town, with all of it ahead of her. It reminds me of the first time I heard Beth Nielson-Chapman or Nanci Griffith. It's going to be fun to watch.
I don't really have a set-in-stone process or formula. Sometimes the melody is there and I have to chase down the lyrics. Sometimes, the song is there and I have to make the melody fit. What I've learned so far about songwriting is that I can't force a song. If I try to do that, it's hollow, and people know a hollow song when they hear it. It's the song they stop listening to and forget about. I'd prefer not to write those kinds of songs.
I don't want to speak too disparagingly of my generation (actually I do, we had a chance to change the world and opted for the Home Shopping Network instead), but there was a view among the student writers I knew at that time that good writing came spontaneously, in an uprush of feeling that had to be caught at once; when you were building that all-important stairway to heaven, you couldn't just stand around with your hammer in your hand.
I think on the first album, my aim was to write a good song and have a good melody, and I wanted lyrics that would connect with as many people as possible. On the second album, I took a lot more of a personal approach. I wasn't trying to make conventional, structured songs; I was really trying to get a lot of emotion and my own personal journey throughout it. I just focused more on being honest than getting the normal song structure down.
It's assumed that if you're a woman, you want to be the prettiest version of yourself. It always put me in a bad mood. It was like, "OK, I'm successful. I'm supposed to be happy. Well, why aren't I happy?" Part of the problem was that my looked-at-ness had become a priority over my art making. Over and over again it was like, "I don't have time for this. I want to work." I love writing. I don't love somebody putting false eyelashes on me.
In going where you have to go, and doing what you have to do, and seeing what you have to see, you'll dull and blunt the instrument you write with. But I would rather have it bent and dull and know I had to put it to the grindstone again and hammer it into shape and put a whetstone to it, and know that I had something to write about, than to have it bright and shining and nothing to say, or smooth and well-oiled in the closet, but unused.
In description we hear and feel the absorption of the author in the material. We sense the presence of the creator of the scene. .. This personal absorption is what we mean by 'style.' It is strange that we would choose so oddly surfacey a word - style - for this most soulful aspect of writing. We could, perhaps more exactly, call this relation between consciousness and its subject 'integrity.' What else is the articulation of perception?
We all get habituated, right? You get up in the morning, have your coffee, and read your newspaper, and that’s great. Everybody loves life in its mundane, daily aspects. It’s what makes us feel secure. But I also start to go numb a little bit and I don’t see what’s around me. So I put myself in a new situation and suddenly I’m really seeing the person next to me, hearing music, and I’m smelling, and I can’t help but want to write it down.
I am writing for the Christian agnostic, by which I mean a person who is immensely attracted to Christ and who seeks to show his spirit, to meet the challenges, hardships, and sorrows of life in the light of that spirit, but who, though he is sure of many Christian truths, feels that he cannot honestly and conscientiously 'sign on the dotted line' that he believes certain theological ideas about what some branches of the Church dogmatize.
A cardinal rule of writing is never interrupt yourself to explain something. If you must bring up an obscure topic, drop informative hints about it as you go along so that you don't end up with the entire explanation all in one place. This keeps you from skidding to a stop and sounding teacherish. Otherwise it's better to omit the obscure topic altogether, or as mothers might put it: if you can't say it interestingly, don't say it at all.
If you take psychedelics and the Internet and music and put all of that together you have the basis for a new community that is wider and deeper than you know. The people who are building the new machines, who are designing the new circuitry, who are writing the new code are ALL freaks. They work for capitalist dogs, of course, because we all do, but the creative thrust of these technologies is being driven by people just like you and me.
My top priority in any trade negotiation is expanding opportunity for hardworking Americans. It's no secret that past trade deals haven't always lived up to their promise, and that's why I will only sign my name to an agreement that helps ordinary Americans get ahead, the bill put forward today would help us write those rules in a way that avoids the mistakes from our past, seizes opportunities for our future and stays true to our values.
I'm a privileged person, I feel privileged because of who I am. I write books, I write novels, I write essays and I teach and I go from university to university. I'm one of the old, but I still go around, but I only see those who are not like that, I don't see the junk youth. I only meet students, and even those who are not formally at the university, if they come to listen to me, they come to read me, it means they are not junk students.
When asked how she knows when her writing is where she wants it to be: "I know when it's the best I can do. It may not be the best there is. Another writer may do it much better. But I know when it's the best I can do. I know that one of the great arts that the writer develops is the art of saying, 'No. No, I'm finished. Bye.' And leaving it alone. I will not write it into the ground. I will not write the life out of it. I won't do that."
Ko Un's poems evoke the open creativity and fluidity of nature, and funny turns and twists of Mind. Mind is sometimes registered in Buddhist terms - Buddhist practice being part of Ko Un's background. Ko Un writes spare, short-line lyrics direct to the point, but often intricate in both wit and meaning. Ko Un has now traveled worldwide and is not only a major spokesman for all Korean culture, but a voice for Planet Earth Watershed as well.
I write on a computer, but I've run the complete gambit. When I was very young, I wrote with a ballpoint pen in school notebooks. Then I got pretentious and started writing with a dip pen on parchment (I wrote at least a novel-length poem that way). Moved on to a fountain pen. Then a typewriter, then an electric self-correct. Then someone gave me a word processor and I was amazed at being able to fit ten pages on one of those floppy discs.
I'm always tempted in the back of my mind to continue to write things in the Star Trek universe, in the novels or the comics, just because I don't get to play in that universe and I don't get to hang out with those characters any more. You spend hours upon hours of your life, day after day sitting in writers' rooms, talking about these people and these situations, and it becomes very real to you. They're friends of yours, in a lot of ways.
Nowadays theologians aren't quite so straightforward as Paley. They don't point to complex living mechanisms and say that they are self-evidently designed by a creator, just like a watch. But there is a tendency to point to them and say 'It is impossible to believe' that such complexity, or such perfection, could have evolved by natural selection. Whenever I read such a remark, I always feel like writing 'Speak for yourself' in the margin.
The visual side of being a performer or in a band is, to me, as important as the music. I know not everyone shares that same opinion, but when I'm writing songs or working on lyrics or coming up with an idea, I think about videos as I'm in the studio. If I had all the money in the world, I would have the most amazing videos ever, you know? You're saying grandiose, and big; if the song warrants it, I try to push the visuals as far as I can.
There are reviews that are clearly wrong. Dr. Johnson's famous Life of Savage, he's clearly wrong about the value of Savage. But it's one of the great works in English literature. You can learn more about the artistic expression and what the poet does and how to write about art from that than any number of guys who are terrible writers, who have no original ideas, but who say yes, "Hamlet" is a wonderful play. It's a meaningless statement.
Until recently we’ve only been able to speculate about story's persuasive effects. But over the last several decades psychology has begun a serious study of how story affects the human mind. Results repeatedly show that our attitudes, fears, hopes, and values are strongly influenced by story. In fact, fiction seems to be more effective at changing beliefs than writing that is specifically designed to persuade through argument and evidence.