“Why illustrate a great piece of writing whose very advocacy and evocation and efficacy lies within its very existence as writing?”

— Peter Greenaway

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

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Peter Greenaway 266

British film director 1942

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“Many writers write a great deal, but very few write more than a very little of the real thing. So most writing must be displaced activity.”

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Context: Many writers write a great deal, but very few write more than a very little of the real thing. So most writing must be displaced activity. When cockerels confront each other and daren’t fight, they busily start pecking imaginary grains off to the side. That’s displaced activity. Much of what we do at any level is a bit like that, I fancy. But hard to know which is which. On the other hand, the machinery has to be kept running. The big problem for those who write verse is keeping the machine running without simply exercising evasion of the real confrontation. If Ulanova, the ballerina, missed one day of practice, she couldn’t get back to peak fitness without a week of hard work. Dickens said the same about his writing—if he missed a day he needed a week of hard slog to get back into the flow.

“From its very start, reading is writings apotheosis.”

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“The efficacy of religion lies precisely in what is not rational, philosophic or eternal; its efficacy lies in the unforeseen, the miraculous, the extraordinary.”

Henri-Frédéric Amiel (1821–1881) Swiss philosopher and poet

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Context: The efficacy of religion lies precisely in what is not rational, philosophic or eternal; its efficacy lies in the unforeseen, the miraculous, the extraordinary. Thus religion attracts more devotion according as it demands more faith,—that is to say, as it becomes more incredible to the profane mind. The philosopher aspires to explain away all mysteries, to dissolve them into light. Mystery on the other hand is demanded and pursued by the religious instinct; mystery constitutes the essence of worship, the power of proselytism. When the "cross" became the "foolishness" of the cross, it took possession of the masses.

“For me it's always been the visitation of characters. Since I was very young l've thought there is a natural creative spirit, a very romantic spirit, that we have within. That spirit seeks expression. It exists in those of us who want to be writers, or think that we are going to be writers; who want to write poetry, to write stories, to jump into novels. But that spirit, that energy, has to be channeled. I think a great deal of channeling for me has to do with the very strong characters that come to me and demand that their stories be told.”

Rudolfo Anaya (1937) Novelist, poet

On his writing inspiration in “Interview with Rudolfo Anaya” https://ebuah.uah.es/dspace/bitstream/handle/10017/4986/Interview%20with%20Rudolfo%20Anaya.pdf?sequence=1&isAllowed=y (CARMEN FLYS JUNQUERA, Universidad de Alcalá de Henares)