Quotes about writer
page 15

“The worship of images is intimately connected with that of the saints. They were rejected by the primitive Christians; but St Irenæus, who lived in the second century, relates that there was a sect of heretics, the Carpocratians, who worshipped, in the manner of Pagans, different images representing Jesus Christ, St Paul, and others. The Gnostics had also images; but the church rejected their use in a positive manner, and a Christian writer of the third century, Minutius Felix, says that “the Pagans reproached the Christians for having neither temples nor simulachres;” and I could quote many other evidences that the primitive Christians entertained a great horror against every kind of images, considering them as the work of demons. It appears, however, that the use of pictures was creeping into the church already in the third century, because the council of Elvira in Spain, held in 305, especially forbids to have any picture in the Christian churches. These pictures were generally representations of some events, either of the New 5 In his Treatise given below. 11 or of the Old Testament, and their object was to instruct the common and illiterate people in sacred history, whilst others were emblems, representing some ideas connected with the doctrines [008] of Christianity. It was certainly a powerful means of producing an impression upon the senses and the imagination of the vulgar, who believe without reasoning, and admit without reflection; it was also the most easy way of converting rude and ignorant nations, because, looking constantly on the representations of some fact, people usually end by believing it. This iconographic teaching was, therefore, recommended by the rulers of the church, as being useful to the ignorant, who had only the understanding of eyes, and could not read writings.6 Such a practice was, however, fraught with the greatest danger, as experience has but too much proved. It was replacing intellect by sight.7 Instead of elevating man towards God, it was bringing down the Deity to the level of his finite intellect, and it could not but powerfully contribute to the rapid spread of a pagan anthropomorphism in the church.”

John Calvin (1509–1564) French Protestant reformer

Source: A Treatise of Relics (1543), p. 10-11

God, People, Way, Quotes

“A science fiction writer is—or should be—constrained by what is, or logically might be. That can mean simple fidelity to facts (which, in science, are always more important than theories—though Lord knows the two help shape each other, undermining the convenient, complacent separation of observer and observed). To me it also means heeding the authentic, the actual and concrete. Bad fiction uses the glossy generality; good writing needs the smattering of detail, the unrelenting busy mystery of the real.”

Gregory Benford (1941) Science fiction author and astrophysicist

Afterword to Exposures, p. 246
In Alien Flesh (1986)

Business, Science, Help

“I love coming in with a battle plan, but I also love the freedom to make things up with my actors, and my DP, too. Sometimes we’ll be in a scene and I see new things we can do, so I will throw whatever stuff that has been cooking away in my brain for a long time because I think what I'm coming up with on the set might serve the film better. You know, your instinct will tell you, “This is a better way, try this other way instead,” and that's very important for me, and that is my style of filmmaking, for better or for worse. That's how I like to approach it. And a lot of it comes to me when I'm designing the script, the screenplay. I'm generally very involved in the screenplay, even the ones I'm not on officially as a writer, I'm still extremely involved in how I craft the screen with the writers. I like to get in there and I really craft the world so I can have an idea of how all that will play out before I go on set. Then when I go on set, I like to keep it free, so that I can improvise with my actors.”

James Wan (1977) Malaysian-born Australian film director, screenwriter and producer

Interview: James Wan on His Creative Process, Returning to Horror with The Conjuring 2 and His Approach to Aquaman https://dailydead.com/interview-james-wan-creative-process-returning-horror-conjuring-2-approach-aquaman/ (June 9, 2016)

Love, World, Way, Idea

“Some years ago, I was lucky enough invited to a gathering of great and good people: artists and scientists, writers and discoverers of things. And I felt that at any moment they would realise that I didn’t qualify to be there, among these people who had really done things. On my second or third night there, I was standing at the back of the hall, while a musical entertainment happened, and I started talking to a very nice, polite, elderly gentleman about several things, including our shared first name. And then he pointed to the hall of people, and said words to the effect of, "I just look at all these people, and I think, what the heck am I doing here? They’ve made amazing things. I just went where I was sent." And I said, "Yes. But you were the first man on the moon. I think that counts for something."”

Neil Gaiman (1960) English fantasy writer

And I felt a bit better. Because if Neil Armstrong felt like an imposter, maybe everyone did.
http://neil-gaiman.tumblr.com/post/160603396711/hi-i-read-that-youve-dealt-with-with-impostor (2017)

People, Music, Thinking, Night

“During the thirty years I have spent abroad I have felt I was more privileged than my Western colleagues, whether writers or teachers of literature, for events both recent and long past took in my mind a sharply delineated, precise form. Western audiences confronted with poems or novels written in Poland, Czechoslovakia or Hungary, or with films produced there, possibly intuit a similarly sharpened consciousness, in a constant struggle against limitations imposed by censorship. Memory thus is our force, it protects us against a speech entwining upon itself like the ivy when it does not find a support on a tree or a wall.”

Czeslaw Milosz (1911–2004) Polish, poet, diplomat, prosaist, writer, and translator

Nobel lecture (8 December 1980)

Literature, Support, Tree, Teachers

“My desire for information was, however, too strong to be turned aside and often have I been sent away from a bookstall when the owner became offended at my standing reading, which I used to do until I was sent away… I used to borrow books from a man who kept a small shop… leaving a small sum as a deposit. At the age of twenty, Place had worked through the histories of Greece and Rome and some translated works of Greek and Roman writers.”

Francis Place (1771–1854) English social reformer

Source: The life of Francis Place, 1771-1854, 1898, p. 17

Books, Age, History, Strong

“If I were a better artist, I'd be a painter, and if I were a better writer, I'd write books — but I'm not, so I draw cartoons!”

Charles M. Schulz (1922–2000) American cartoonist

1992, as quoted by Tom Tomorrow in his comic strip This Modern World (21 February 2000) http://archive.salon.com/comics/tomo/2000/02/21/tomo/index.html

Books, Drawing

“He was a terrific writer and was the most responsible for the success and development of Batman. He really was the background for Batman; Bob Kane had ideas while Bill sort of organized them.”

Bill Finger (1914–1974) American comic strip and comic book writer

George Roussos, quoted in "Interviews with George Roussos", Dark Knight Archives, vol. 2, DC Comics, page 8
About

Idea, Success

“After such a close brush with mortality I feel that I have an obligation to destiny and want to do something with my life that will benefit mankind. I am not a writer but think the best thing I can do is try to report on and understand what is happening in the world.”

Virgil John Tangborn (1920–1944)

October 1, 1938

Life, World, Feeling, Understanding

“Past sins, if you repent of them, whiten you. They made a great psalmist out of David, a faithful believer out of the prostitute Rahab, a zealous apostle out of the persecutor Saul. I have been a loved preacher and writer with a particular vocation. My sermons and books would not have had the same quality without my past of anarchy, vice, and violent atheism.”

Richard Wurmbrand (1909–2001) Romanian Christian minister of Jewish descent

If Prison Walls Could Speak (1972)

Love, Books, Faith, Past

“For example, Monstuart Elphinstone, a Governor of Bombay, suggested in his Minute dated 14 May 1859: “Divide et Impera was the old Roman motto, and it should be our”. Given the circumstances, it would have been foolish of any imperialist power not to follow such a policy. But for achieving this aim there was no need for them to distort Indian history. British historians had just to reiterate what the Muslim chroniclers themselves had written about the “glorious achievements” of their kings and conquerors. Their stories needed no proof: they stood confirmed by the hundreds of vandalised medieval monuments. The mistake lay with the misjudgement of our Congress-culture Government and the so-called secularist and Stalinist historians. They chose to treat history as a handmaid of politics to please the Muslim minority. They instructed their text-book writers to eschew mention of unpalatable historical facts like destruction of temples and forced conversions by Muslims in history, language and social science. But perpetration of lies has proved counter-productive. It has encouraged Muslims to ask for proof as to when Babur or Aurangzeb broke this or that temple, knowing full well that such shrines were actually vandalised and razed.”

K. S. Lal book The Legacy of Muslim Rule in India

Source: The Legacy of Muslim Rule in India (1992), Chapter 8

Books, History, Science

“The scientistic sociologist wishes people to feel that he is just as empirical and thoroughgoing as the natural scientist, and that his conclusions are based just as relentlessly on observed data. The desire to present this kind of façade accounts, one may suspect, for the many examples and the extensive use of statistical tables found in the works of some of them. It has been said of certain novelists that they create settings having such a wealth of realistic detail that the reader assumes that the plot which is to follow will be equally realistic, when this may be far from the case. What happens is that the novelist disarms the reader with the realism of his setting in order that he may “get away with murder” in his plot. The persuasiveness of the scene is thus counted on to spill over into the action of the story. In like manner, when a treatise on social science is filled with this kind of data, the realism of the latter can influence our acceptance of the thesis, which may, on scrutiny, rest on very dubious constructs, such as definitions of units. Along with this there is sometimes a great display of scientific preciseness in formulations. But my reading suggests that some of these writers are often very precise about matters which are not very important and rather imprecise about matters which are. Most likely this is an offsetting process. If there are subjects one cannot afford to be precise about because they are too little understood or because one’s views of them are too contrary to traditional beliefs about society, one may be able to maintain an appearance of scientific correctness by taking great pains in the expressing of matters of little consequence. These will afford scope for a display of scholarly meticulousness and of one’s command of the scientific terminology.”

Richard M. Weaver (1910–1963) American scholar

“Concealed Rhetoric in Scientistic Sociology,” pp. 148-149.
Language is Sermonic (1970)

Pain, People, Feeling, Nature

“I don't think any good book is based on factual experience. Bad books are about things the writer already knew before he wrote them.”

Carlos Fuentes (1928–2012) Mexican writer

As quoted in International Herald Tribune (Paris, 5 November 1991)

Books, Thinking

“Yesirree, life sure is good.
Yesirree, nothing could possibly go wrong with everything being so good.
But of course, in books, good is boring.
Good is a snoozer.
Good makes people close the covers and never reopen them.
But you know—you'd think that just once when life finally started going my way, that cosmic writer out there would allow me and all of my co-characters to simply enjoy things for just a little while. I mean, what kind of a prick would end a book just when everything's going so well?”

Douglas Coupland book JPod

JPod (2006)

Life, People, Books, Way

“Americans may laud Charlie Hebdo for being brave enough to publish cartoons ridiculing the Prophet Muhammad, but, if Ayaan Hirsi Ali is invited to campus, there are often calls to deny her a podium. So this might be a teachable moment. As we are mortified by the slaughter of those writers and editors in Paris, it’s a good time to come up with a less hypocritical approach to our own controversial figures, provocateurs and satirists. The first thing to say, I suppose, is that whatever you might have put on your Facebook page yesterday, it is inaccurate for most of us to claim, Je Suis Charlie Hebdo, or I Am Charlie Hebdo. Most of us don’t actually engage in the sort of deliberately offensive humor that that newspaper specializes in.”

David Brooks (1961) American journalist, commentator and editor

David Brooks. "I Am Not Charlie Hebdo" http://archive.li/nlsvG The New York Times (January 2015) 2010s

Time

“Every compulsion is put upon writers to become safe, polite, obedient, and sterile. In protest, I declined election to the National Institute of Arts and Letters some years ago, and now I must decline the Pulitzer Prize.”

Sinclair Lewis (1885–1951) American novelist, short-story writer, and playwright

Letter declining the 1926 Pulitzer Prize for Arrowsmith

Art

“I am a terrible writer. You are a great writer. I went to sales school. You have a master’s degree. Put them together and you get a best-selling author’ and a ‘best-writing author.”

Robert T. Kiyosaki (1947) American finance author , investor

Rich Dad Poor Dad: What the Rich Teach Their Kids About Money-That the Poor and the Middle Class Do Not!

School

“I'm a commercial writer, not an author. Margaret Mitchell was an author. She wrote one book.”

Mickey Spillane (1918–2006) American writer

Writers on Writing interview (1986)

Books

“I tried to answer but she interrupted and went off in a Barrymore manner, speaking deeply and tragically; murmuring of the pity of it all, the stupidity of it all, the absurdity of a hopelessly bad writer like myself buried in a cheap hotel in Los Angeles, California, of all places, writing banal things the world would never read and never get a chance to forget.”

John Fante book Ask the Dust

Ask the Dust (1939)

Stupidity, World, Angels, Chance

“The parody is the last refuge of the frustrated writer. Parodies are what you write when you are associate editor of the Harvard Lampoon. The greater the work of literature, the easier the parody. The step up from writing parodies is writing on the wall above the urinal.”

Ernest Hemingway (1899–1961) American author and journalist

Pt. 1, Ch. 4
Papa Hemingway (1966)

Literature

“1) Writers who write for other writers should write letters.”

Larry Niven (1938) American writer

Niven's Laws, Niven's Laws For Writers

“O foolish writer. Now moves. Even in storytime, dreamtime, once-upon-a-time, now isn’t then.”

Ursula K. Le Guin (1929–2018) American writer

Foreward (p. xiii)
Earthsea Books, Tales from Earthsea (2001)

Time

“Well, anyway, I am one of the best five writers to come out of English music since the War.”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd

Q magazine, November 1992
Music

War, Music

“The writer needs good works—good literary ones”

Dana Gioia (1950) American writer

33
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“There are too many "creative writing" courses and seminars, in which young wirters are constantly being taught to rewrite the previous generation. They should be experimenting on their own. Every writer faces different problems which he must solve for himself.”

John Dos Passos (1896–1970) novelist, playwright, poet, journalist, painter

"Conversation with Dos Passos," New Leader, Feb 23 1959

Problem

“It was the verdict of ancient writers that men afflict themselves in evil and weary themselves in the good, and that the same effects result from both of these passions. For whenever men are not obliged to fight from necessity, they fight from ambition; which is so powerful in human breasts, that it never leaves them no matter to what rank they rise. The reason is that nature has so created men that they are able to desire everything but are not able to attain everything: so that the desire being always greater than the acquisition, there results discontent with the possession and little satisfaction to themselves from it. From this arises the changes in their fortunes; for as men desire, some to have more, some in fear of losing their acquisition, there ensues enmity and war, from which results the ruin of that province and the elevation of another.”

Niccolo Machiavelli book Discourses on Livy

Book 1, Ch. 37 Variant: Nature has so contrived that to men, though all things are objects of desire, not all things are attainable; so that desire always exceeds the power of attainment, with the result that men are ill-content with what they possess and their present state brings them little satisfaction. Hence arise the vicissitudes of their fortune. (as translated by LJ Walker and B Crick)
Discourses on Livy (1517)

Men, War, Fear, Nature

“The preface is usually that part of a book which can most safely be omitted. It usually represents that efflorescent manifestation of egotism which an author, after working hard, cannot spare either himself or his readers. More often than not the readers spare themselves. When, however, the writer is a daily perpetrator of high treason, his introductory remarks may command from the English public that kind of awful veneration with which £5000 confessions are perused in the Sunday newspapers, quite frequently after the narrator has taken his last leap in the dark.”

William Joyce (1906–1946) British fascist and propaganda broadcaster

William Joyce, Twilight over England (Internationaler Verlag, Berlin, 1940), preface.

Books, Parting

“Those who are placed in positions which demand the surrender of personality, which insist on strict conformity to definite political policies and opinions, must deteriorate, must become mechanical, must lose all capacity to give anything really vital. The world is full of such unfortunate cripples. Their dream is to “arrive,” no matter at what cost. If only we would stop to consider what it means to “arrive,” we would pity the unfortunate victim. Instead of that, we look to the artist, the poet, the writer, the dramatist and thinker who have “arrived,” as the final authority on all matters, whereas in reality their “arrival” is synonymous with mediocrity, with the denial and betrayal of what might in the beginning have meant something real and ideal. The “arrived” artists are dead souls upon the intellectual horizon. The uncompromising and daring spirits never “arrive.” Their life represents an endless battle with the stupidity and the dullness of their time. They must remain what Nietzsche calls “untimely,” because everything that strives for new form, new expression or new values, is always doomed to be untimely.”

Emma Goldman (1868–1940) anarchist known for her political activism, writing, and speeches

Intellectual Proletarians (1914)

Life, Stupidity, World, Dreams

“The first sentence of the actual Life of Alexander lives up to Plutarch's warning words. 'Alexander's descent, as a Heraclid on his father's side from Caranus, and as an Aeacid on his mother's side from Neoptolemus, is one of the matters which have been completely trusted.' While the Heraclid and Aeacid descent went unquestioned by ancient writers, the citation of Caranus as the founding father in Macedonia and so analogous to Neoptolemus in Molossia was not only controversial but must have been known to be controversial by Plutarch. For he was conversant with the histories of Herodotus and Thucydides. which had looked to Perdiccas as the founding father in Macedonia. Caranus was inserted as a forerunner of Perdiccas in Macedonia only at the turn of the fifth century: he appeared as such in the works of fourth-century writers, such as Marsyas the Macedonian historian (FGrH 135/6 i- 14) who on my analysis was used by Pompeius Trogus (Prologue 7 'origines Macedonicae regesque a conditorc gentis Carano'). Thus the dogmatic statement of Plutarch, that Caranus was the forerunner, should have been qualified, if he had been writing scientific history. But because the statement conveyed a belief which Alexander certainly held in his lifetime it was justified in the eyes of a biographer and in the eyes of those who were more concerned with biographical background than with historical facts. If Plutarch had been challenged, he would no doubt have claimed that his belief was based on his own wide reading of authors who had studied the origins of Macedonia and provided 'completely trusted' data.”

N. G. L. Hammond (1907–2001) British classical scholar

"Sources for Alexander the Great: An Analysis of Plutarch's 'Life' and Arrian's 'Anabasis Alexandrou'", p.5, Cambridge Classical Studies

Life, History, Study, Appearance

“Science fiction offers its writers chances of embarrassment that no other form of fiction does.”

Isaac Asimov (1920–1992) American writer and professor of biochemistry at Boston University, known for his works of science fiction …

Robot Dreams (1986), introduction
General sources

Science, Chance

“If you could see what these flowers are. [Morandi's remark, circa 1917 - to the writer Raimondi from Bologna, indicating flowers in the corner of a reproduction of a painting by w:El Greco – beneath the feet of angels and saints]). No modern painter has painted flowers like these. Perhaps only Renoir”

Giorgio Morandi (1890–1964) Italian painter

Quote of Morandi; as cited in Morandi 1894 – 1964, ed: M. C. Bandera & R. Miracco, Museo d'Arte Moderna di Bologna, 2008; p. 48
1925 - 1945

Angels, Flowers, Painting

“ Every individual word in a passage or poetry can no more be said to denote some specific referent than does every brush mark, every line in a painting have its counterpart in reality. The writer or speaker does not communicate his thoughts to us; he communicates a representation for carrying out, this function under the severe discipline of using the only materials he has, sound and gesture. Speech is like painting, a representation made out of given materials -- sound or paint. The function of speech is to stimulate and set up thoughts in us having correspondence with the speaker's desires; he has then communicated with us. But he has not transmitted a copy of his thoughts, a photograph, but only a stream of speech -- a substitute made from the unpromising material of sound. The artist, the sculptor, the caricaturist, the composer are akin in this [fact that they have not transmitted a copy of their thoughts], that they express (make representations of) their thoughts using chosen, limited materials. They make the "best" representations, within these self-imposed constraints. A child who builds models of a house, or a train, using only a few colored bricks, is essentially engaged in the same creative task.* Metaphors can play a most forceful role, by importing ideas through a vehicle language, setting up what are purely linguistic associations (we speak of "heavy burden of taxation," "being in a rut"). The imported concepts are, to some extent, artificial in their contexts, and they are by no means universal among different cultures. For instance, the concepts of cleanliness and washing are used within Christendom to imply "freedom from sin." We Westerners speak of the mind's eye, but this idea is unknown amongst the Chinese. that is, we are looking at it with the eyes of our English-speaking culture. A grammar book may help us to decipher the text more thoroughly, and help us comprehend something of the language structure, but we may never fully understand if we are not bred in the culture and society that has modeled and shaped the language. (p. 74)”

Colin Cherry (1914–1979) British scientist

See Gombrich in reference 348
On Human Communication (1957), Language: Science and Aesthetics

Books, Color, Communication, Idea

“What no wife of a writer can ever understand, no matter if she lives with him for twenty years, is that a writer is working when he's staring out the window.”

Burton Rascoe (1892–1957) American writer

Quoted by Bennett Cerf in Shake Well Before Using http://books.google.com/books?id=gVZAAAAAIAAJ&q=%22What+no+wife+of+a+writer+can+ever+understand+no+matter+if+she+lives+with+him+for+twenty+years+is+that+a+writer+is+working+when+he%27s+staring+out+the+window%22&pg=PA118#v=onepage (1948)

Understanding

“Dr Williams’s book is about a number of nineteenth-century French writers who caught syphilis and probably died of paresis. They are Baudelaire, Jules de Goncourt, Flaubert, Guy de Maupassant and Daudet. A similar book could probably be written about nineteenth-century British writers, including such unlikely victims of syphilis as John Keats and Edward Lear. People were not so frightened of the disease as we are. Few physicians saw the connection between cerebral degeneration and the primary chancre: when the secondary stage of the infection had healed, it was generally assumed that everything was over and lightning would not strike the tree again. This was Baudelaire’s belief. One could even rejoice at picking up the pox: it was not merely an inoculation; it advertised one’s virility to the world….”

Anthony Burgess (1917–1993) English writer

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

People, Books, World, Disease

“In every man's writings, the character of the writer must lie recorded.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

Goethe (1828).
1820s, Critical and Miscellaneous Essays (1827–1855)

Lie

“There are seven causes of inconsistencies and contradictions to be met with in a literary work. The first cause arises from the fact that the author collects the opinions of various men, each differing from the other, but neglects to mention the name of the author of any particular opinion. In such a work contradictions or inconsistencies must occur, since any two statements may belong to two different authors. Second cause: The author holds at first one opinion which he subsequently rejects: in his work, however, both his original and altered views are retained. Third cause: The passages in question are not all to be taken literally: some only are to be understood in their literal sense, while in others figurative language is employed, which includes another meaning besides the literal one: or, in the apparently inconsistent passages, figurative language is employed which, if taken literally, would seem to be contradictories or contraries. Fourth cause: The premises are not identical in both statements, but for certain reasons they are not fully stated in these passages: or two propositions with different subjects which are expressed by the same term without having the difference in meaning pointed out, occur in two passages. The contradiction is therefore only apparent, but there is no contradiction in reality. The fifth cause is traceable to the use of a certain method adopted in teaching and expounding profound problems. Namely, a difficult and obscure theorem must sometimes be mentioned and assumed as known, for the illustration of some elementary and intelligible subject which must be taught beforehand the commencement being always made with the easier thing. The teacher must therefore facilitate, in any manner which he can devise, the explanation of those theorems, which have to be assumed as known, and he must content himself with giving a general though somewhat inaccurate notion on the subject. It is, for the present, explained according to the capacity of the students, that they may comprehend it as far as they are required to understand the subject. Later on, the same subject is thoroughly treated and fully developed in its right place. Sixth cause: The contradiction is not apparent, and only becomes evident through a series of premises. The larger the number of premises necessary to prove the contradiction between the two conclusions, the greater is the chance that it will escape detection, and that the author will not perceive his own inconsistency. Only when from each conclusion, by means of suitable premises, an inference is made, and from the enunciation thus inferred, by means of proper arguments, other conclusions are formed, and after that process has been repeated many times, then it becomes clear that the original conclusions are contradictories or contraries. Even able writers are liable to overlook such inconsistencies. If, however, the contradiction between the original statements can at once be discovered, and the author, while writing the second, does not think of the first, he evinces a greater deficiency, and his words deserve no notice whatever. Seventh cause: It is sometimes necessary to introduce such metaphysical matter as may partly be disclosed, but must partly be concealed: while, therefore, on one occasion the object which the author has in view may demand that the metaphysical problem be treated as solved in one way, it may be convenient on another occasion to treat it as solved in the opposite way. The author must endeavour, by concealing the fact as much as possible, to prevent the uneducated reader from perceiving the contradiction.”

Maimónides book The Guide for the Perplexed

Guide for the Perplexed (c. 1190), Introduction

Men, Way, Intelligence, Understanding

“In its conception the literature prize belongs to days when a writer could still be thought of as, by virtue of his or her occupation, a sage, someone with no institutional affiliations who could offer an authoritative word on our times as well as on our moral life. (It has always struck me as strange, by the way, that Alfred Nobel did not institute a philosophy prize, or for that matter that he instituted a physics prize but not a mathematics prize, to say nothing of a music prize - music is, after all, more universal than literature, which is bound to a particular language.) The idea of writer as sage is pretty much dead today. I would certainly feel very uncomfortable in the role.”

J.M. Coetzee (1940) South African writer

Dagens Nyheter http://www.dn.se/kultur-noje/an-exclusive-interview-with-j-m-coetzee interview with David Attwell (December 8, 2003)

Life, Music, Way, Feeling

“"Wakefield" prefigures Franz Kafka, but the latter modifies, and sharpens, the reading of "Wakefield." The debt is mutual; a great writer creates his or her precursors. He or she creates them and in some fashion justifies them.”

Jorge Luis Borges book Other Inquisitions

"Nathaniel Hawthorne"
Other Inquisitions (1952)

Fashion, Reading

“How can he [today’s writer] be honored, when he does not honor himself; when he loses himself in the crowd; when he is no longer the lawgiver, but the sycophant, ducking to the giddy opinion of a reckless public.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

“Goethe; or, the Writer,” p. 274
1850s, Representative Men (1850)

“The pornographers actually use our bodies as their language. We are their speech.... Protecting what they 'say' means protecting what they do to us, how they do it. It means protecting their sadism on our bodies, because that is how they write: not like a writer at all; like a torturer.”

Andrea Dworkin (1946–2005) Feminist writer

Women Transforming Communications.

“The writer doesn’t push story into us, he withholds information in order that we draw his story out of ourselves.”

David Baboulene (1960) UK author

The Story Book (2010)

Drawing

“A famous writer who wants to continue writing has to be constantly defending himself against fame. I don't really like to say this because it never sounds sincere, but I would really have liked for my books to have been published after my death, so I wouldn't have to go through all this business of fame and being a great writer. In my case, the only advantage to fame is that I have been able to give it a political use. Otherwise, it is quite uncomfortable. The problem is that you're famous for twenty-four hours a day, and you can't say, "Okay, I won't be famous until tomorrow," or press a button and say, "I won't be famous here or now."”

Gabriel García Márquez (1927–2014) Colombian writer

Source: The Paris Review interview (1981), p. 337

Death, Books, Business, Problem

“That famous trick, related by nearly every writer on Hindu jugglery, of youths tossing balls of twine in the air and climbing up on them out of sight, I did not see, nor could I find during my visit any well-authenticated evidence that it was ever done. The tricks I saw I could have imitated with little preparation. I would not presume to introduce them upon the stage.”

Alexander Herrmann (1844–1896) French magician

The Art of Magic (1891)

Youth

“Like art, science is born of itself, not of nature. There is no neutral naturalism. The artist, no less than the writer, needs a vocabulary before he can embark on a 'copy' of reality.”

Ernst Gombrich (1909–2001) art historian

E. H. Gombrich (1962), quoted in: Robert Maxwell Young. Mind, Brain, and Adaptation in the Nineteenth Century, 1970. p. 101.

Art, Nature, Reality, Science

“I was writing for businesses. I think my mother was a little skeptical in the beginning, but fortunately, as a free-lance writer I was successful almost immediately. And so she was very proud, because she measured success in terms of money, which is what I started to do as well. My goal then, became to increase the amount of money that I made each month. Not simply each year, but each month — I mean, talk about pressure — to have more billable hours each month. So that by the end of my third year of being a free-lance writer, I was billing 90 hours a week. I had no time to sleep. I had no life. People said I was crazy, that I was a workaholic. And I couldn't understand how it was that I had these wonderful clients, and I was making all this money, and I wasn't happy and I didn't feel successful. That's when I started to write fiction.”

Amy Tan (1952) American novelist

American Acheivement interview (1996)

Life, Money, Happiness, People

“Even where it is manipulated by major talents, deconstruction tends to bear either on marginal texts (Sade, Lautréamont), or on secondary work by a great writer (Barthes on Balzac's Sarrazine). The classics of deconstruction, in Jacques Derrida or Paul De Man, are "misreadings" not of literature but of philosophy; they address themselves to philosophical linguistics and the theory of language. The masks they seek to strip off are those worn by Plato, by Hegel, by Rousseau, by Nietszche or Saussure. Deconstruction has nothing to tell us of Aeschylus or Dante, of Shakespeare or Tolstoy.”

George Steiner (1929–2020) American writer

Source: Real Presences (1989), II: The Broken Contract, Ch. 8 (p. 128).

Literature

“One of my mottoes as a writer is a little jotting from Kafka's journals: ‘Never again psychology!’ But alas, humankind is obsessed with its psychological workings, and since the novel can only treat of humankind... You see my predicament.”

John Banville (1945) Irish writer

Fully Booked: Q & A with John Banville (2012)

“Herbert Casson was a highly prolific writer on management, with a career as a management guru spanning some four decades. A skilled writer who was also a successful entrepreneur, he used his own experiences and acute observations of the world around him to develop a philosophy of management based on the concept of ‘efficiency’. He published more than seventy books, which by the time of his death had sold more than half a million copies around the world. Something of a maverick, he was never really accepted by the business academic community in either Britain or America. His books were popular and populist, highly entertaining and full of penetrating insight.”

Herbert N. Casson (1869–1951) Canadian journalist and writer

Morgen Witzel (2003), Fifty Key Figures in Management. p. 42

Death, Books, World, Communication

“The Catholic writer really needs only three things to succeed: faith, hope and ingenuity”

Dana Gioia (1950) American writer

31
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

Faith, Hope

“In most writers, style is a welcome, an invitation, a letting down of the drawbridge between the artist and the world. Shaw had no time for such ruses. Unlike most of his countrymen, he abominated charm, which he regarded as evidence of chronic temperamental weakness.”

Kenneth Tynan (1927–1980) English theatre critic and writer

"Bernard Shaw" (1956), p. 102
Profiles (1990)

World, Time

“So we have finished with the broken window. An elementary fallacy. Anybody, one would think, would be able to avoid it after a few moments’ thought. Yet the broken-window fallacy, under a hundred disguises, is the most persistent in the history of economics. It is more rampant now than at any time in the past. It is solemnly reaffirmed every day by great captains of industry, by chambers of commerce, by labor union leaders, by editorial writers and newspaper columnists and radio commentators, by learned statisticians using the most refined techniques, by professors of economics in our best universities. In their various ways they all dilate upon the advantages of destruction.”

Henry Hazlitt book Economics in One Lesson

Economics in One Lesson (1946), The Blessings of Destruction (ch. 3)

Way, History, Thinking, Learning

“Everyone who has read your book are unanimous in their judgment. They all think it is politically harmful for us. There is no point in giving it for an evaluation to the writers Fedin, Leonov, Ehrenburg, etc. The reviewers could have made a mistake in their aesthetic judgment but they were unanimous in their political judgment, and I have no doubt that their political judgment is absolutely correct.”

Vasily Grossman (1905–1964) Soviet writer and journalist who originally trained as an engineer

1960s

Books, Thinking, Reading

“Being so deeply rooted in one place and culture allows a genuine writer to experiment wildly with the material without ever losing touch with its essence.”

Dana Gioia (1950) American writer

"The Most Unfashionable Poet Now Alive: Charles Causley," http://www.danagioia.net/essays/ecausley.htm published in The Dark Horse (Summer 1997 and Spring 1998) Essays

“Very few people, including authors willing to commit to paper, ever really read primary sources—certainly not in necessary depth and comtemplation, and often not at all. […] When writers close themselves off to the documents of scholarship, and then rely only on seeing or asking, they become conduits and sieves rather than thinkers. When, on the other hand, you study the great works of predecessors engaged in the same struggle, you enter a dialogue with human history and the rich variety of our own intellectual traditions. You insert yourself, and your own organizing powers, into this history—and you become an acive agent, not merely a “reporter.””

Stephen Jay Gould book Leonardo's Mountain of Clams and the Diet of Worms

Introduction, p. 6
Leonardo's Mountain of Clams and the Diet of Worms (1998)

People, History, Study, Reading

“There have been many [libertarian writers who have inspired me]: Milton Friedman, Murray Rothbard—just-just a number of people who have influenced me—Mary Ruwart, Harry Browne who ran for president as a Libertarian a couple times—so there've been a number of people.”

Glenn Jacobs (1967) American professional wrestler and actor

9:41 P.M.
Interviewed on The Independents (2014)

People, Time

“If the writer of these lines has succeeded in providing some material for clarifying these problems, he may regard his labours as not having been fruitless.”

Vladimir Lenin book The Development of Capitalism in Russia

The Development of Capitalism in Russia (1899)

Problem

“As Soviet power grows, there will be a greater aversion to Communist parties everywhere. So we must practice the techniques of withdrawal. Never appear in the foreground; let our friends do the work. We must always remember that one sympathizer is generally worth more than a dozen militant Communists. A university professor, who without being a party member, lends himself to the interests of the Soviet Union, is worth more than a hundred men with party cards. A writer of reputation, or a retired general, are worth more than 500 poor devils who don't know any better than to get themselves beaten up by the police. Every man has his value, his merit. The writer who, without being a party member, defends the Soviet Union, the union leader who is outside our ranks but defends Soviet international policy, is worth more than a thousand party members.”

Georgi Dimitrov (1882–1949) Bulgarian politician

Reported as a misattribution in Paul F. Boller, Jr., and John George, They Never Said It: A Book of Fake Quotes, Misquotes, & Misleading Attributions (1989), p. 20-21.
Misattributed

Men, Universe, Appearance

“I feel like I own all the kids in the world because, since I've never grown up myself, all my books are automatically for children. … It's mutual delight and love made manifest. For one thing, kids love me because I write stories that tell them about their capacity for evil. I'm one of the few writers who lets you cleanse yourself that way.”

Ray Bradbury (1920–2012) American writer

Playboy interview (1996)

Love, Children, Books, World

“The writer of prose can only step aside when the poet passes…”

W. Somerset Maugham (1874–1965) British playwright, novelist, short story writer

Source: Cakes and Ale: Or, The Skeleton in the Cupboard (1930), p. 184

“First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation, a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“ ‘Very Graceful Are the Uses of Culture’ ”, p. 211
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Books, Art, Drink, Time

“Accepting the view that man was prior in the creation, some Scriptural writers say that as the woman was of the man, therefore, her position should be one of subjection. Grant it, then as the historical fact is reversed in our day, and the man is now of the woman, shall his place be one of subjection?”

Elizabeth Cady Stanton book The Woman's Bible

The Woman's Bible (1898)

“They certainly are not great writers, but they speak their country's language and they make themselves heard.”

Alexis De Tocqueville book Democracy in America

Book One, Chapter XIII.
Democracy in America, Volume II (1840), Book One

Country

“Roger: It depends.. A song is melody and lyrics and the music, you know? For our band, Vinnie the drummer writes like 95% of the lyrics so he's the main songwriter if you want to look at it that way. But he doesn't write any chords or melodies or any of that kind of stuff. So, it's kind of hard to split up or dissect a song that way, you know? On this record.. it's pretty fair, you know, pretty even between myself and Chris.. Actually JR and I. JR's the first song writer outside of Chris, Vinnie or I to like actually sit down and reword a song for the record. So he's becoming like a bigger part of that sort of thing. I don't know. It just depends. I definitely write a bunch of them!”

Roger Manganelli (1973) American musician

laughs

Music, Way, Parting, Dependency

“Says a writer whom few know, "Forty years after a battle it is easy for a non-combatant to reason about how it ought to have been fought. It is another thing personally and under fire to direct the fighting while involved in the obscuring smoke of it. Much so with respect to other emergencies involving considerations both practical and moral, and when it is imperative promptly to act."”

Herman Melville book Billy Budd, Sailor

This statement is usually attributed entirely to Melville, but the way he presents it in the story indicates that he might be quoting a lesser known author.
Source: Billy Budd, the Sailor (1891), Ch. 21

Fight, Personality

“You shall not stipulate for iniquity. All writers upon our law agree in this, no polluted hand shall touch the pure fountains of justice.”

John Eardley Wilmot (1709–1792) English judge

2 Wils. 341.
Collins v. Blantern (1767)

Justice, Law

“Like the intricately rational web of theology woven around the irrational mysteries of faith, the sober explanations of institutions for hoarding literary relics seem like elegant post-factum justifications for what is essentially a sense of sacred awe. An institution of learning seeks significant manuscripts because they possess qualities that scholarship cannot entirely reproduce — an authentic, holistic connection with the great writers of the past. It is not the intellectual content of the manuscript that is important but its material presence — ink spots, tobacco stains, pinworm holes, and foxing included.”

Dana Gioia (1950) American writer

"The Magical Value of Manuscripts," http://www.danagioia.net/essays/ehop.htm The Hudson Review (Spring 1996); later published as an introduction to The Hand of the Poet: Poems and Papers in Manuscript, ed. Rodney Phillips (1997) Essays

Faith, Sense, Learning, Past

“In fact, I would argue that these mythic modes are more easily identifiable in historiographical than they are in ‘literary’ texts. For historians usually work with much less linguistic(and therefore less poetic) self-consciousness than writers of fiction do. They tend to treat language as a transparent vehicle of representation that brings no cognitive baggage of its own into the discourse.”

Hayden White (1928–2018) American historian

"The fictions of factual representation"

“Ever since [ Copernicus], writers eager to drive the lesson home have urged us […] to abandon all sentimental egoism, and to see ourselves objectively in the true perspective of time and space. What precisely does this mean? In a full 'main feature' film, recapitulating faithfully the complete history of the universe, the rise of human beings from the first beginnings of man to the achievements of the twentieth century would flash by in a single second. Alternatively, if we decided to examine the universe objectively in the sense of paying equal attention to portions of equal mass, this would result in a lifelong preoccupation with interstellar dust, relieved only at brief intervals by a survey of incandescent masses of hydrogen — not in a thousand million lifetimes would the turn come to give man even a second's notice. It goes without saying that no one — scientists included — looks at the universe in this way, whatever lip-service is given to 'objectivity.”

Michael Polanyi (1891–1976) Hungarian-British polymath

Source: Personal Knowledge (1958), p. 3

Way, Home, History, Sense

“A critic can only review the book he has read, not the one which the writer wrote.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Unclassified

Books, Reading

“[W]e shall be concerned with the general nature of pure mathematics, and how it is distinguished from other sciences. Here there are… two distinct categories of things of which an account must be given—the ideas or concepts of mathematics, and the propositions of mathematics. …the great majority of writers on the subject have concentrated their attention on the explanation of one or the other… and erroneously supposed that a satisfactory explanation of the other would immediately follow.”

Frank P. Ramsey (1903–1930) British mathematician, philosopher

Footnote: In the future by 'mathematics' will always be meant 'pure mathematics'.
The Foundations of Mathematics (1925)

Mathematics, Idea, Nature, Science

“I've studied Ulysses in depth and still think it's a great and ground-breaking book, a brave and sincere trail-blazer — but also massively self-indulgent, baggy, and irritating.
Joyce was a wonderful liberator, but his approach is dangerous for a writer to emulate, since he had a massive ego and was convinced that every word he wrote was sacred. Have you seen his annotated proofs? He scarcely ever deleted a word, just added screeds and screeds more stuff in the margins. He also believed that people should, and would, read novels with the same slow, studious pondering of every word and phrase that they bring to ancient scripture, which I think is a stupid thing for a storyteller to expect.”

Michel Faber (1960) novelist

Interview at Canongate http://www.canongate.net/MichelFaber

People, Books, Stupidity, Thinking

“A report was brought to the Sultan that there was in Delhi an old Brahman (zunar dar) who persisted in publicly performing the worship of idols in his house; and that people of the city, both Musulmans and Hindus, used to resort to his house to worship the idol. The Brahman had constructed a wooden tablet (muhrak), which was covered within and without with paintings of demons and other objects. On days appointed, the infidels went to his house and worshipped the idol, without the fact becoming known to the public officers. The Sultan was informed that this Brahman had perverted Muhammadan women, and had led them to become infidels. An order was accordingly given that the Brahman, with his tablet, should be brought into the presence of the Sultan at Firozabad. The judges and doctors and elders and lawyers were summoned, and the case of the Brahman was submitted for their opinion. Their reply was that the provisions of the Law were clear: the Brahman must either become a Musulman or be burned. The true faith was declared to the Brahman, and the right course pointed out, but he refused to accept it. Orders were given for raising a pile of faggots before the door of the darbar. The Brahman was tied hand and foot and cast into it; the tablet was thrown on top and the pile was lighted. The writer of this book was present at the darbar and witnessed the execution. The tablet of the Brahman was lighted in two places, at his head and at his feet; the wood was dry, and the fire first reached his feet, and drew from him a cry, but the flames quickly enveloped his head and consumed him. Behold the Sultans strict adherence to law and rectitude, how he would not deviate in the least from its decrees!”

Firuz Shah Tughlaq (1309–1388) Tughluq sultan

Delhi. Tarikh-i-Firuz Shahi, Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. Elliot and Dowson. Vol. III, p. 365 ff https://archive.org/stream/cu31924073036737#page/n379/mode/2up Quoted in Shourie, Arun (2014). Eminent historians: Their technology, their line, their fraud. Noida, Uttar Pradesh, India : HarperCollins Publishers.

Women, People, Books, Faith

“Actually if a writer needs a dictionary he should not write. He should have read the dictionary at least three times from beginning to end and then have loaned it to someone who needs it. There are only certain words which are valid and similies (bring me my dictionary) are like defective ammunition”

Ernest Hemingway (1899–1961) American author and journalist

the lowest thing I can think of at this time
Letter (20 March 1953); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker

Thinking, Time, Reading

“What really made me angry though was finding myself agreeing with any of the journal's articles, and I did agree with several. The writers had a keen, if cold intelligence. They did a great deal of seeing through some of the nonsense concerned with the psychic field in general. Of course, they were almost vengefully gleeful when they could legitimately knock down some psychic performance, or show a psychic's predictions to be wrong. Only why couldn't they see their own scientific nonsense? And why couldn't their trained intellects perceive their own emotional vehemence? Because, I thought unhappily, they were scientific witch hunters.”

Jane Roberts (1929–1984) American Writer

Source: The God of Jane: A Psychic Manifesto (1981), p. 141

Intelligence, Training

“When a young woman tells me that she wants to become and actor, I say, 'No, be a writer. Or go to business school and learn how to run a studio.' The only real change will come from behind the scenes.”

Halle Berry (1966) American actress

On gender issues in the entertainment industry — reported in Geoff Pevere (April 13, 2007) "Berry almost chose bylines over marquees", The Toronto Star, p. D06.

School, Business, Learning, Change

“Most writers have no other quality than the reader: taste. But the latter has the better taste, because he does not write - and the best if he does not read.”

Karl Kraus (1874–1936) Czech playwright and publicist

Half-Truths and One-And-A-Half Truths (1976)

Reading

“I’m surprised that multiple personalities are so much less common in reality than in fiction: what a little disorder it would take, a distraction, a sleep, for one of our minor characters to imagine he was the star, to speak out for everyone else. And that’s what it would be, a change of billing, not of authorship. For you do not write your play—you are just the character in it called The Playwright. The real writer, you never meet.”

James Richardson (1950) American poet

#139
Vectors: Aphorisms and Ten Second Essays (2001)

Imagination, Star, Reality, Sleep

“When I think of me as a psychic, I get hung up because I seem to be in the company of so many nuts. Writers may be as nuts as anyone else but it's a nuttiness that doesn't bug me -- there's no dogma attached.”

Jane Roberts (1929–1984) American Writer

p. 122, Speaking of Jane Roberts (2001) by Susan M. Watkins

Thinking

“This country is merciless to good small talents. A writer who doesn't take chances and swing for the fences (whether or not he has a prayer of reaching them) is less than a man.”

Wilfrid Sheed (1930–2011) English-American novelist and essayist

"Letters of E. B. White" (1976), p. 251
The Good Word & Other Words (1978)

Chance, Country

“The only true exile is the writer who lives in his own country.”

Julio Cortázar (1914–1984) Argentinian writer

Country

“Stereotyped rules laid down by judicial writers cannot be accepted as infallible canons of interpretation in these days, when commercial transactions have altered in character, and increased in complexity; and there can be no hard-and-fast rule by which to construe the multiform commercial agreements with which in modern times we have to deal.”

Charles Bowen (1835–1894) English judge

Jacobs v. Credit Lyonnais (1884), L. R. 12 Q. B. D. 601; 53 L. J. Q. B. 159.

Time

“She sat there, the white of saliva at the ends of her mouth, her teeth gritted, her hands pulling at her long hair, her face fighting off a scream, but it didn't matter; she could scream if she liked, for Arturo Bandini wasn't queer, there was nothing at all wrong with Arturo Bandini; why, he had a passion like six men, that boy, he had felt it coming to the surface: some guy, mighty writer, mighty lover; right with the world, right with his prose.”

John Fante book Ask the Dust

Ask the Dust (1939)

Men, World, Guy, Boy

“Writers don't seem to benefit much by the advance of science, although they thrive on superstitions of all kinds.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

"Quotes", The Educated Imagination (1963), Talk 1: The Motive For Metaphor http://northropfrye-theeducatedimagination.blogspot.ca/2009/08/1-motive-for-metaphor.html

Science

“The one good thing to be said about announcing yourself as a writer in the colonial Canadian fifties is that nobody told me I couldn't do it because I was a girl. They simply found the entire proposition ridiculous. Writers were dead and English, or else extremely elderly and American; they were not sixteen years old and Canadian. It would have been worse if I'd been a boy, though. Never mind the fact that all the really stirring poems I'd read at that time had been about slaughter, mayhem, sex and death — poetry was thought of as existing in the pastel female realm, along with embroidery and flower arranging. If I'd been male I would probably have had to roll around in the mud, in some boring skirmish over whether or not I was a sissy.”

Margaret Atwood (1939) Canadian writer

On Writing Poetry (1995)

Death, Sex, Girl, Boy

“We assert that the N. C E. R. T. books have met their fate because of the studied bias and fantastic theories and interpretations of writers like Habib and his friends, and their communal approach in deliberately glossing over the misdeeds of one section of medieval Indian society and repeatedly hammering on the failings of the other…..”

K. S. Lal (1920–2002) Indian historian

Bias in Indian historiography (1980)

Fate, Books, Communication, Study

“Criticism, whatever may be its pretensions, never does more than to define the impression which is made upon it at a certain moment by a work wherein the writer himself noted the impression of the world which he received at a certain hour.”

James Branch Cabell (1879–1958) American author

Epigraph
The Certain Hour (1916)

World

“Reade was an emancipating writer because he seemed to speak as man to man to resolve history into an intelligible pattern in which there was no need for miracles. Even if he was wrong, he was grown-up.”

William Winwood Reade (1838–1875) British historian

George Orwell Collected Essays, Journalism and Letters (1970) vol. 4, p. 147.
Criticism of The Martyrdom of Man

History, Intelligence, Reading

“In homage to Guillaume Apollinaire [famous French poet, art-critic, writer and defender of Cubism], who had just died and who, on several occasions, seemed to us to have followed a discipline of this kind, without however having sacrificed to it any mediocre literary means, Soupault and I baptized the new mode of pure expression which we had at our disposal and which we wished to pass on to our friends, by the name of SURREALISM. I believe that there is no point today in dwelling any further on this word and that the meaning we gave it initially has generally prevailed over its Apollinarian sense.”

André Breton (1896–1966) French writer

Breton's quote refers to the start of the term Surrealism, together with Philippe Soupault
Le Manifeste du Surréalisme, Andre Breton (Manifesto of Surrealism; 1924)

Art, Sense

“We are not empire builders. How important this fact is no American who has not lived in Asia can appreciate. It goes against our conscience, which is a very tender part of the American spirit. Therefore we are learning how to hold our allies, not by force of arms and government, but by mutual benefit and friendship. So much is already clear…
I am therefore hopeful. In spite of dismaying contradictions in individuals in our national scene, I feel the controlling spirit or our people, generous, decent, and sane. In this mood of faith and hope my work goes on. A ream of fresh paper lies on my desk waiting for the next book. I am a writer and I take up my pen to write.”

Pearl S. Buck (1892–1973) American writer

Source: My Several Worlds (1954), p. 407, This has sometimes been quoted as "In a mood of faith and hope..."

Friendship, People, Books, Faith

“Once again [with the CD "Unwrapped"], Gloria's mission is accomplished. As an entertainer, a vocalist and a writer, she has invited the world into her heart. The result is nothing short of incomparable.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

contactmusic.com (March of 2003)
2007, 2008

World, Heart

“I’ve had several teachers who inspired me. Most notable was, perhaps, an English teacher I had during my junior year of high school. All my life I’d been praised and encouraged as an artist. This particular teacher did this, but she also encouraged me as a writer, going so far as to say once, “I wouldn’t be surprised if I saw your name on a book one day.””

Kevin Henkes (1960) American children's illustrator and writer

The power of these words was enormous. I’ll never forget them. Or her. Meet the Man Behind Our Favorite Mouse: An Interview with Kevin Henkes http://www.kindercare.com/content-hub/articles/2016/march/meet-the-man-behind-our-favorite-mouse-an-interview-with-kevin-henkes (March 21, 2016)

Life, Books, School, Teachers

“You have to recognize those writers who are artists in the same sense as the musicians.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in "Meet Clare Fischer" http://cdassassin.wordpress.com/2010/10/28/1999-interview-at-allaboutjazz-com/

Sense

“Strength is not energy. Some writers have more muscles than talent.”

Joseph Joubert (1754–1824) French moralist and essayist

“Writers after Coase have referred to the authority structure of the firm as a "visible hand" that works in combination with Smith's invisible hand. The everyday fact that employers exercise power over their employees — not news to most employees — had been a central theme in Marx's economics, but it was (and generally continues to be) overlooked by most neoclassical economists. Early in his studies Coase noted the similarity between the hierarchical organization of capitalist firms, with their reliance on command relations, and the then-existing system of centralized economic planning in the Communist countries, where production was carried out in accordance with orders from higher authorities and where market competition played little role.”

Samuel Bowles (1939) American economist

Source: Understanding Capitalism: Competition, Command, and Change, 2005, p. 85

Exercises, Study, Country

“Mostly, you write a script and someone’s gonna rewrite you. They get hundreds of— not hundred but they get ten writers to write something. If you have a big budget, you can go and get a lot of people to write on script…. I just actually heard that somebody said, 'Well, your screenplay got bought and now someone like Carrie Fisher will come in and rewrite you.' And I feel terrible, you know, because that’s not what I mean to do. My idea was never to raid something and trash it, you know. ‘Cause that – that’s more work for me!”

Carrie Fisher (1956–2016) American actress, screenwriter and novelist

From the filmmaking documentary Dreams on Spec

People, Feeling, Idea

“But she [Virginia Woolf] is impotently distant from an understanding of the proper relations between literature and society, because she has no clear sense of the functions of literature. She sees writers as individual 'artists' working in mysterious privacy - which from time to time society rudely invades. Her writer, indeed, has all the characteristics of traditional 'femininity' - with society as the big strong male who should protect and cherish his literary womenfolk, but does not. She might - for all the application of her complaint to the relations between society and literature - be talking of the relations between husbands and wives.”

Laura Riding Jackson (1901–1991) poet, critic, novelist, essayist and short story writer

Laura Riding and Harry Kemp from The Left Heresy in Literature and Life (London: Methuen, 1939)

Literature, Understanding, Sense, Strong

“I hit many what you call the "bad bol" pitches, and get good wood. The bol' travel like bullet. That remind me, I hit 565 foote hum-rum in Chicaga last year; the bol' disappear from centerfield, and Raj Hornsby tell me it longest drive he ever saw hit out of Wrigley Field. The bol' feel good on the bat but I feel bad at heart, when no writer with our team play up the big drive. I feel effort not appreciated.”

Roberto Clemente (1934–1972) Puerto Rican baseball player

As quoted by Bill Nunn, Jr. in The New Pittsburgh Courier (June 25, 1960); reproduced in Clemente: The Passion and Grace of Baseball's Last Hero https://books.google.com/books?id=jIhcvFs-k1cC&pg=PA98 (2006) by David Maraniss, p. 98 Comment: Clemente is not entirely correct. At least nationally (via TSN's weekly Pirates report), one veteran Pirates beat writer did do his part to publicize the blast. See Les Biederman (5/27/59 and 6/6/66) in Media, as well as Ernie Banks in Opponents. Baseball-related, <big><big>1960s</big></big>, <big>1960</big>

Travel, Feeling, Effort, Heart