Quotes about writer

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In recognition of van Vogt receiving the Grand Master designation in 1996, in The Nebula Awards Vol. 31, as quoted in SF Authors Remember A.E. van Vogt (2000) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm#SF%20Authors%20Remeber%20A.E.%20van%20Vogt
Context: Even the brightest star shines dimly when observed-from too far away. And human memory is notoriously unreliable. And we live in ugly times when all respect for that which has gone before suffers crib death beneath the weight of youthful arrogance and ignorance. But a great nobility has at last, been recognized and lauded. Someone less charitable than I might suggest the honor could have been better appreciated had it not been so tardy, naming its race with a foe that blots joy and destroys short-term memory. But I sing the Talent Electric, and like aft the dark smudges of history, everything but the honor and die achievement remains for the myth-makers.
Alfred E. van Vogt has been awarded the Grand Master trophy of the Science Fiction and Fantasy Writers of America. He is not the to first person to receive this singular accolade…given only to those whose right to possess it is beyond argument or mitigation.
Were we in 1946 or even 1956, van Vogt would have already been able to hold the award aloft. Had SFWA existed then and had the greatest living sf authors been polled as to who was the most fecund, the most intriguing, the mast innovative the most influential of their number, Isaac and Arthur and Cyril and Hank Kuttner and Ron Hubbard would all have pointed to the same man, and Bob Heinlein would've given him a thumbs-up. Van Vogt was the pinnacle, the source of power and ideas; the writer to beat. Because he embodied in his astonishing novels and assorted stories what we always say is of prime importance to us in this genre-the much vaunted Sense of Wonder.
Van Vogt was the wellspring of wonder. … That's how important he was. … And then came the dark years during which the man was shamefully agented and overlooked; and even the brightest star loses its piercing light if observed through the thickening mists of time and flawed memory.
Now it is lifetimes later, and the great award has, at last, been presented. To some, less charitable than I, something could be said about a day late and a dollar short, but not I. I am here to sing the Talent Electric, and it is better now than never. He is the Grand Master, A. E. can Vogt, weaver of a thousand ideas per plot-line, creator of alien thoughts and impossible dreams that rival the best ever built by our kind.
This dear, gentlemanly writer whose stories can still kill you with a concept or warm you with a character, now joins the special pantheon.

When asked who wrote Romeo and Juliet in "Ha'ir", 2005.

Burn This Book, p. 2 (2009)
Context: We all know nations that can be identified by the flight of writers from their shores. These are regimes whose fear of unmonitored writing is justified because truth is trouble. It is trouble for the warmonger, the torturer, the corporate thief, the political hack, the corrupt justice system, and for a comatose public. Unpersecuted, unjailed, unharrassed writers are trouble for the ignorant bully, the sly racist, and the predators feeding off the world’s resources. The alarm, the disquiet, writers raise is instructive because it is open and vulnerable, because if unpoliced it is threatening. Therefore the historical suppression of writers is the earliest harbinger of the steady peeling away of additional rights and liberties that will follow.

“The Obscurity of the Poet”, p. 17
Poetry and the Age (1953)
Context: Goethe said, “The author whom a lexicon can keep up with is worth nothing”; Somerset Maugham says that the finest compliment he ever received was a letter in which one of his readers said: “I read your novel without having to look up a single word in the dictionary.” These writers, plainly, lived in different worlds.

On Writing Poetry (1995)
Context: My English teacher from 1955, run to ground by some documentary crew trying to explain my life, said that in her class I had showed no particular promise. This was true. Until the descent of the giant thumb, I showed no particular promise. I also showed no particular promise for some time afterwards, but I did not know this. A lot of being a poet consists of willed ignorance. If you woke up from your trance and realized the nature of the life-threatening and dignity-destroying precipice you were walking along, you would switch into actuarial sciences immediately. If I had not been ignorant in this particular way, I would not have announced to an assortment of my high school female friends, in the cafeteria one brown-bag lunchtime, that I was going to be a writer. I said "writer," not "poet;" I did have some common sense. But my announcement was certainly a conversation-stopper. Sticks of celery were suspended in mid-crunch, peanut-butter sandwiches paused halfway between table and mouth; nobody said a word. One of those present reminded me of this incident recently — I had repressed it — and said she had been simply astounded. "Why?," I said. "Because I wanted to be a writer?" "No," she said. "Because you had the guts to say it out loud."

Introduction to 'Junkyard Thoughts' in Isaac Asimov's Science Fiction Magazine (February 1986)
Context: Mr. Lafferty says, "I'm the fellow who, for more than a quarter century, has faithfully maintained the thesis that all writers should be funny-looking and all stories should be funny. Almost all of the evil in the world is brought about by handsome writers doing pompous pieces. But sometimes readers tell me that such a story of mine is not funny at all. 'Wait, wait,' I tell them. 'You're holding it upside-down. Now try it.' And sure enough it is funny if they get ahold of it right. This caution is especially applicable to the story 'Junkyard Thoughts.' Be sure you're not holding it upside-down or it will be merely bewildering."

Acceptance speech as "best actress" at the 69th Annual Academy Awards (24 March 1997) https://www.youtube.com/watch?v=Phno8FKSl48, for her performance in Fargo · Full text online at the Academy Awards Acceptance Speech Database http://aaspeechesdb.oscars.org/link/069-3/
Context: It is impossible to maintain one's composure in this situation. What am I doing here? — especially considering the extraordinary group of women with whom I was nominated. We five women were fortunate to have the choice, not just the opportunity but the choice, to play such rich, complex female characters. And I congratulate producers like Working Title and Polygram for allowing directors to make autonomous casting decisions based on qualifications and not just market value. And I encourage writers and directors to keep these really interesting female roles coming — and while you're at it you can throw in a few for the men as well.

Annotated Drawings by Eugene J. Martin: 1977-1978

"The Art of Fiction No. 11" (1955)
Context: I don't know many writers. [... ] Well, I dunno, but I do have the feeling that other writers can't help you with writing. I've gone to writers' conferences and writers' sessions and writers' clinics, and the more I see of them, the more I'm sure it's the wrong direction. It isn't the place where you learn to write. I've always felt strongly that a writer shouldn't be engaged with other writers, or with people who make books, or even with people who read them. I think the farther away you get from the literary traffic, the closer you are to sources. I mean, a writer doesn't really live, he observes.

Source: Far from the Tree, Ch. 12 Father, p. 701.

Vol. 2 "The Art of Literature" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Writers may be classified as meteors, planets, and fixed stars. A meteor makes a striking effect for a moment. You look up and cry “There!” and it is gone forever. Planets and wandering stars last a much longer time. They often outshine the fixed stars and are confounded by them by the inexperienced; but this only because they are near. It is not long before they must yield their place; nay, the light they give is reflected only, and the sphere of their influence is confined to their orbit — their contemporaries. Their path is one of change and movement, and with the circuit of a few years their tale is told. Fixed stars are the only ones that are constant; their position in the firmament is secure; they shine with a light of their own; their effect today is the same as it was yesterday, because, having no parallax, their appearance does not alter with a difference in our standpoint. They belong not to one system, one nation only, but to the universe. And just because they are so very far away, it is usually many years before their light is visible to the inhabitants of this earth.

(25 November 2006)
Unfit for Mass Consumption (blog entries), 2004
Context: No matter what you may have heard elsewhere or however you may have romanticized the life of working writers, know this: it is, with very, very few exceptions, a brutal, ugly, and unrelentingly difficult existence. It is a grind, no matter how much you may love to write or feel driven to tell stories. Personal demons aside, you will encounter at almost every turn no shortage of idiots and shitheels upon whom you must depend to get your work to readers. Occasionally, there will be a fortunate aberration: a wonderful, brilliant editor, or a copyeditor who doesn't try to express herhimitself vicariously by attempting to rewrite your work, or an agent who busts hisherits ass for you. You may even be so fortunate as to encounter a publisher who cares more about herhisits authors than the bottom line. Those things do happen. But don't ever fucking count on it. If you come to this life, and if you "make it" and can actually eek out some sort of living writing, you will likely learn these things for yourselves. Plenty of people will tell you I'm full of shit on this account. And you are certainly free to listen to whomever you please. But after fourteen years as a full-time writer, during which time I have had great successes and profound failures, seen modest fortune and considerable poverty and everything in-between, been appreciated and reviled, awarded and ignored, helped and hindered — one thing remains true. It's a tough row to hoe, as my Grandfather Ramey would have said. And you do yourself and all working authors a disservice if you dare believe otherwise.

The Age for Love
Context: I remember, the reasoning of a man determined to arrive that I tried to lull to sleep the inward voice that cried, "You have no right to put on paper, to give to the public what this noble writer said to you, supposing that he was receiving a poet, not a reporter." But I heard also the voice of my chief saying, "You will never succeed."

Introduction to the Bhagavad-Gita (1944)
Context: More than twenty-five centuries have passed since that which has been called the Perennial Philosophy was first committed to writing; and in the course of those centuries it has found expression, now partial, now complete, now in this form, now in that, again and again. In Vedanta and Hebrew prophecy, in the Tao Teh King and the Platonic dialogues, in the Gospel according to St. John and Mahayana theology, in Plotinus and the Areopagite, among the Persian Sufis and the Christian mystics of the Middle Ages and the Renaissance — the Perennial Philosophy has spoken almost all the languages of Asia and Europe and has made use of the terminology and traditions of every one of the higher religions. But under all this confusion of tongues and myths, of local histories and particularist doctrines, there remains a Highest Common Factor, which is the Perennial Philosophy in what may be called its chemically pure state. This final purity can never, of course, be expressed by any verbal statement of the philosophy, however undogmatic that statement may be, however deliberately syncretistic. The very fact that it is set down at a certain time by a certain writer, using this or that language, automatically imposes a certain sociological and personal bias on the doctrines so formulated. It is only in the act of contemplation when words and even personality are transcended, that the pure state of the Perennial Philosophy can actually be known. The records left by those who have known it in this way make it abundantly clear that all of them, whether Hindu, Buddhist, Hebrew, Taoist, Christian, or Mohammedan, were attempting to describe the same essentially indescribable Fact.

Writing and Being (1991)
Context: Camus dealt with the question best. He said that he liked individuals who take sides more than literatures that do. 'One either serves the whole of man or does not serve him at all. And if man needs bread and justice, and if what has to be done must be done to serve this need, he also needs pure beauty which is the bread of his heart.' So Camus called for 'Courage in and talent in one's work.' And Márquez redefined tender fiction thus: The best way a writer can serve a revolution is to write as well as he can.
I believe that these two statements might be the credo for all of us who write. They do not resolve the conflicts that have come, and will continue to come, to contemporary writers. But they state plainly an honest possibility of doing so, they turn the face of the writer squarely to her and his existence, the reason to be, as a writer, and the reason to be, as a responsible human, acting, like any other, within a social context.

In his introduction "Van is Here, But Van is Gone" to Futures Past: The Best Short Fiction of A. E. van Vogt (July 1999) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm
Context: Alfred E. van Vogt, since the appearance of his first two stories — "Black Destroyer" and "Discord in Scarlet" (Astounding Science Fiction, July and December 1939) the most memorable debut in the long history of the genre — has been a giant. The words seminal and germinal leap to mind. Sadly, at this juncture. the words tragedy and farewell also insinuate themselves. … Van is still with us, as I write this, in June of 1999, slightly less than fifty years since I first encountered van Vogt prose in a January 1950 issue of Startling Stories, but Van is gone. He is no longer with us. … Because the great and fecund mind of A. E. van Vogt has fallen into the clutches of that pulp thriller demon, Alzheimer's. Van is gone. … Anyone's demise or vanishment is in some small way tragic but the word "tragedy" requires greater measure for its use. … Van' s great mind now gone. Tragedy.
The ultimate tragic impropriety visited on as good a man as ever lived. A gentle. soft spoken man who was filled with ideas and humor and courtesy and kindness. Not even those who were not aficionados of Van's writing could muster a harsh word about him as a human being. He was as he remains now, quietly and purposefully, a gentleman.
But make no mistake about this: the last few decades for him were marred by the perfidious and even mean spirited and sometimes criminal acts of poltroons and self-aggrandizing mountebanks and piss-ants into whose clutches he fell just before the thug Alzheimer got him. … I came late to the friendship with Van and Lydia. Perhaps only twenty-five or so years. But the friendship continues, and at least I was able to make enough noise to get Van the Science Fiction Writers of America Grand Master Award, which was presented to him in full ceremony during one of the last moments when he was cogent and clearheaded enough understand that finally, as last, dragged kicking and screaming to honor him, the generation that learned from what he did and what he had created had, at last, fessed up to his importance.
Naturally, others took credit for his getting the award. They postured and spewed all the right platitudes. Some of them were the same ones who had said to me — during the five years it took to get them to act honorably — "we'd have given it to him sooner if you hadn't made such a fuss." Yeah. Sure. And pandas'll fly out of my ass.

The Principles of Success in Literature (1865)
Context: The selective instinct of the artist tells him when his language should be homely, and when it should be more elevated; and it is precisely in the imperceptible blending of the plain with the ornate that a great writer is distinguished. He uses the simplest phrases without triviality, and the grandest without a suggestion of grandiloquence.

Radio interview (1939) quoted in Introduction by Robert DeMott to a 1992 edition of The Grapes of Wrath
Context: Boileau said that Kings, Gods and Heroes only were fit subjects for literature. The writer can only write about what he admires. Present-day kings aren't very inspiring, the gods are on a vacation and about the only heroes left are the scientists and the poor … And since our race admires gallantry, the writer will deal with it where he finds it. He finds it in the struggling poor now.

Context: Mays said he thought maybe the Skinner catch was a bit better than yesterday's, as well as a catch he made on a ball hit this season by Gus Bell of the Cincinnati Reds. "But I don't want to compare 'em," said Willie. "I'm just a ballplayer, not a sports writer. I don't compare 'em; I just catch 'em."

Reluctantly comparing his famous catch in Game 1 of the 1954 World Series to a pair of catches made during that season on May 26 https://news.google.com/newspapers?id=0akpAAAAIBAJ&sjid=Gk4EAAAAIBAJ&pg=1599%2C3418911&dq=willie-mays-made-star-tling-catch-bob-skinner and June 6 http://www.mediafire.com/view/m5bmpfxdu5ciu3m/%20.png, respectively (the latter "circus catch" made not against Bell, as per Mays' recollection, but rather Chuck Harmon, who directly preceded Bell in the lineup that day); as paraphrased and quoted in "Willie Modestly Scoffs at Raves Over Big Catch" by UPI, in Newsday (September 30, 1954), p. 95

As quoted in an edition of I Am Legend (1995)
Context: I think the author who influenced me the most as a writer was Richard Matheson. Books like I Am Legend were an inspiration to me.

Acceptance Speech for the Margaret Edwards Award (1998)
Context: I've always believed that there is no subject that is taboo for the writer. It is how it is written that makes a book acceptable, as a work of art, or unacceptable and pornographic. There are many books circulating today, for the teen-ager as well as the grown up, which would not have been printed in the fifties. It is still amazing to me that A Wrinkle In Time was considered too difficult for children. My children were seven, ten, and twelve while I was writing it, and they understood it. The problem is not that it's too difficult for children, but that it's too difficult for grown ups. Much of the world view of Einstein's thinking wasn't being taught when the grown ups were in school, but the children were comfortably familiar with it.

Address at Bennington College (30 October 1984) http://www.nytimes.com/books/97/09/28/reviews/malamud-reflections.html as published in "Reflections of a Writer: Long Work, Short Life" in The New York Times (20 March 1988); also in Talking Horse : Bernard Malamud on Life and Work (1996) edited by Alan Cheuse and ‎Nicholas Delbanco, p. 35
Context: If I may, I would at this point urge young writers not to be too much concerned with the vagaries of the marketplace. Not everyone can make a first-rate living as a writer, but a writer who is serious and responsible about his work, and life, will probably find a way to earn a decent living, if he or she writes well. A good writer will be strengthened by his good writing at a time, let us say, of the resurgence of ignorance in our culture. I think I have been saying that the writer must never compromise with what is best in him in a world defined as free.

1963, Speech at Amherst College
Context: If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeish once remarked of poets, there is nothing worse for our trade than to be in style. In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society — in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost's hired man, the fate of having "nothing to look backward to with pride, and nothing to look forward to with hope."

Twenty-four Conversations with Borges, Including a Selection of Poems: Interviews by Roberto Alifano, 1981–1983 (1984)

Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.

"Inner Landscape : Interview with J.G. Ballard" by Robert Lightfoot and David Pendleton, in Friends No. 17 (30 October 1970) http://www.jgballard.ca/media/1970_oct_friends_magazine.html; also quoted in The Columbia Dictionary of Quotations (1993) by Robert Andrews
Context: A hundred years ago one has the impression that people had made a clear distinction between the outer world of work and of agriculture, commerce and social relationships — which was real — and the inner world of their own minds, day-dreams and hopes. Fiction on the one hand; reality on the other. This reality which surrounded individuals, the writer's role of inventing a fiction that encapsulated various experiences going on in the real world and dramatising them in fictional form, worked. Now the whole situation has been reversed. The exterior landscapes of the seventies are almost entirely fictional ones created by advertising, mass merchandising… politics conducted as advertising. It is very difficult for the writer.
Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.

Interview for French TV (1998)
Context: There's a detachment that you need as a writer. And as a young man, I probably had more detachment than I have today. So that part of me was just looking at the battlefield, and it was certainly full of horrors. There was a lieutenant with us and a driver and another enlisted man like myself. And I think they were shocked profoundly.
I just thought — this is a cold and cruel thing to say, but it's the way a writer is — I thought, "Oh, this is good." Not that it was good that all these people are dead. But "Oh, it's so good for writing." There was a sense of, "This can be used."

Anarchism: Its Philosophy and Ideal (1896)
Context: Once a German jurist of great renown, Ihering, wanted to sum up the scientific work of his life and write a treatise, in which he proposed to analyze the factors that preserve social life in society. "Purpose in Law" (Der Zweck im Rechte), such is the title of that book, which enjoys a well-deserved reputation.
He made an elaborate plan of his treatise, and, with much erudition, discussed both coercive factors which are used to maintain society: wagedom and the different forms of coercion which are sanctioned by law. At the end of his work he reserved two paragraphs only to mention the two non-coercive factors — the feeling of duty and the feeling of mutual sympathy — to which he attached little importance, as might be expected from a writer in law.
But what happened? As he went on analyzing the coercive factors he realized their insufficiency. He consecrated a whole volume to their analysis, and the result was to lessen their importance! When he began the last two paragraphs, when he began to reflect upon the non-coercive factors of society, he perceived, on the contrary, their immense, outweighing importance; and instead of two paragraphs, he found himself obliged to write a second volume, twice as large as the first, on these two factors: voluntary restraint and mutual help; and yet, he analyzed but an infinitesimal part of these latter — those which result from personal sympathy — and hardly touched free agreement, which results from social institutions.

Preface
The House of the Seven Gables (1851)
Context: Many writers lay very great stress upon some definite moral purpose, at which they profess to aim their works. Not to be deficient in this particular, the author has provided himself with a moral, — the truth, namely, that the wrong-doing of one generation lives into the successive ones, and, divesting itself of every temporary advantage, becomes a pure and uncontrollable mischief; and he would feel it a singular gratification if this romance might effectually convince mankind — or, indeed, any one man — of the folly of tumbling down an avalanche of ill-gotten gold, or real estate, on the heads of an unfortunate posterity, thereby to maim and crush them, until the accumulated mass shall be scattered abroad in its original atoms. In good faith, however, he is not sufficiently imaginative to flatter himself with the slightest hope of this kind. When romances do really teach anything, or produce any effective operation, it is usually through a far more subtile process than the ostensible one. The author has considered it hardly worth his while, therefore, relentlessly to impale the story with its moral as with an iron rod, — or, rather, as by sticking a pin through a butterfly, — thus at once depriving it of life, and causing it to stiffen in an ungainly and unnatural attitude. A high truth, indeed, fairly, finely, and skilfully wrought out, brightening at every step, and crowning the final development of a work of fiction, may add an artistic glory, but is never any truer, and seldom any more evident, at the last page than at the first.

"Intense Ornate" interview with Amazon.co.uk (1999)
Context: I went to college to study drama where I discovered I had no talent and after a period of dropping out majored in cultural anthropology which of course meant more masks and dancing … I studied what interested me and so I had to become a writer because my education had left me unsuited for a decent well-paying job.

Prologue as translated in Readings in European History, Vol. I (1904) edited by James Harvey Robinson, p. 450
Sic et Non (1120)
Context: There are many seeming contradictions and even obscurities in the innumerable writings of the church fathers. Our respect for their authority should not stand in the way of an effort on our part to come at the truth. The obscurity and contradictions in ancient writings may be explained upon many grounds, and may be discussed without impugning the good faith and insight of the fathers. A writer may use different terms to mean the same thing, in order to avoid a monotonous repetition of the same word. Common, vague words may be employed in order that the common people may understand; and sometimes a writer sacrifices perfect accuracy in the interest of a clear general statement. Poetical, figurative language is often obscure and vague.
Not infrequently apocryphal works are attributed to the saints. Then, even the best authors often introduce the erroneous views of others and leave the reader to distinguish between the true and the false. Sometimes, as Augustine confesses in his own case, the fathers ventured to rely upon the opinions of others.

moments don’t usually come at the keyboard. They come when I’m lying on the floor, staring into space (or banging my head against the wall in frustration). All of a sudden the Unconscious Camera turns on, a movie starts playing in my head-and there it is: The Big Moment. Or the Whole Damn Story. And, in many ways, I had nothing whatsoever to do with it.
A Conversation With The Legendary J.M. DeMatteis! (2004)

Nobel Prize Lecture (1993)
Context: The vitality of language lies in its ability to limn the actual, imagined and possible lives of its speakers, readers, writers. Although its poise is sometimes in displacing experience it is not a substitute for it. It arcs toward the place where meaning may lie. When a President of the United States thought about the graveyard his country had become, and said, "The world will little note nor long remember what we say here. But it will never forget what they did here," his simple words are exhilarating in their life-sustaining properties because they refused to encapsulate the reality of 600, 000 dead men in a cataclysmic race war. Refusing to monumentalize, disdaining the "final word", the precise "summing up", acknowledging their "poor power to add or detract", his words signal deference to the uncapturability of the life it mourns.

Paris Review interview (1969)
Context: When you consider that there are a thousand ways to express even the simplest idea, it is no wonder writers are under a great strain. Writers care greatly how a thing is said — it makes all the difference. So they are constantly faced with too many choices and must make too many decisions.
I am still encouraged to go on. I wouldn't know where else to go.

From Interviews
Context: These days, I live on the grid – primarily because of medical issues. But I think that it would be hypocritical for a writer to condemn our surveillance culture and then appear on the Charlie Rose show to blather about personal details. Focusing on a writer’s life undermines the power of that writer’s ideas.

Part II, Ch. 2
Sentence in bold quoted by Ralph Ellison in the opening paragraph of his autobiographical essay "Hidden Name and Complex Fate" (1964).
Green Hills of Africa (1935)
Context: Dostoevsky was made by being sent to Siberia. Writers are forged in injustice as a sword is forged.

"Blueprint" 45
White Man, Listen! (1957)

Letter to a group of Occidental College students (1955)
Context: When I first went to Occidental College... there was a literary magazine... called the Aurora, and I remember thinking it odd that Occidental — the west, the setting sun — should be represented by a magazine called Aurora, the dawn. At least it gave us a wide range, the whole daylight sky.
I was continually writing verses in those days. Nobody, not even I myself, thought they were good verses; but Aurora's editor accepted many of them and it gave me pleasure to see my rhymes in print. They did rhyme, if that is any value, and were usually metrical, but why was I so eager to publish what hardly anyone would read and no one would remember? I suppose the desire for publication is a normal part of the instinct for writing... the writer sits at home, and the mere fact of being printed provides his verses with a kind of audience... So, having his vanity partially satisfied, he can go ahead and try better work.

Preface to Villa Rubein and Other Stories (1923)
Context: Writing not long ago to my oldest literary friend, I expressed in a moment of heedless sentiment the wish that we might have again one of our talks of long-past days, over the purposes and methods of our art. And my friend, wiser than I, as he has always been, replied with this doubting phrase "Could we recapture the zest of that old time?"
I would not like to believe that our faith in the value of imaginative art has diminished, that we think it less worth while to struggle for glimpses of truth and for the words which may pass them on to other eyes; or that we can no longer discern the star we tried to follow; but I do fear, with him, that half a lifetime of endeavour has dulled the exuberance which kept one up till morning discussing the ways and means of aesthetic achievement. We have discovered, perhaps with a certain finality, that by no talk can a writer add a cubit to his stature, or change the temperament which moulds and colours the vision of life he sets before the few who will pause to look at it. And so — the rest is silence, and what of work we may still do will be done in that dogged muteness which is the lot of advancing years.
Other times, other men and modes, but not other truth. Truth, though essentially relative, like Einstein's theory, will never lose its ever-new and unique quality — perfect proportion; for Truth, to the human consciousness at least, is but that vitally just relation of part to whole which is the very condition of life itself. And the task before the imaginative writer, whether at the end of the last century or all these aeons later, is the presentation of a vision which to eye and ear and mind has the implicit proportions of Truth.

IV. Is the Ideal Feasible?
Why Not Socialism? (2009)

Sri Aurobindo, (From an introduction to a book entitled Speeches and Writings of Tilak.), quoted from Sri Aurobindo, ., Nahar, S., Aurobindo, ., & Institut de recherches évolutives (Paris). India's rebirth: A selection from Sri Aurobindo's writing, talks and speeches. Paris: Institut de Recherches Evolutives. 3rd Edition (2000). https://web.archive.org/web/20170826004028/http://bharatvani.org/books/ir/IR_frontpage.htm

p. 1 https://babel.hathitrust.org/cgi/pt?id=uc1.b3939906;view=1up;seq=31
Prolegomena to the study of Greek Religion (1903)

p. 1 https://archive.org/details/cu31924029302191/page/n13
History of New Testament Criticism (1910)

On A Kestrel for a Knave
Barry Hines Interview: Homecoming Hero

On how mothers are typically portrayed in “Alfre Woodard Redefines Black Motherhood On Screen In ‘Juanita’” https://shadowandact.com/alfre-woodard-redefines-black-motherhood-on-screen-in-juanita in Shadow and Act (2019 Mar 11)

AI Podcast, December 30, 2019, Algorithms, Complexity, Life, and The Art of Computer Programming https://www.youtube.com/watch?v=2BdBfsXbST8,

On her views of writing in “Jamaica Kincaid: Does Truth Have a Tone?” https://www.guernicamag.com/does-truth-have-a-tone/ in Guernica (2013 Jun 17)

On the parallels between African American literature and Chicano literature in “AN INTERVIEW WITH DENISE CHAVEZ” https://ir.uiowa.edu/cgi/viewcontent.cgi?article=1161&context=ijcs in Iowa Journal of Cultural Studies (1994)

On his leaving the theater world (as quoted in the book Notable Asian Americans http://smithsonianapa.org/wp-content/uploads/sites/8/2009/10/chin-frank.pdf)

On the writing process in ““FRANK CHIN: HIS OWN VOICE” https://resisters.com/by-frank-abe/frank-chin-his-own-voice/ in the Bloombury Review (September 1991)

The Paris Review interview (1999)

The Paris Review interview (1999)

On writing characters in “Interviews with authors at EMWF: Uzma Jalaluddin” https://theontarion.com/2018/09/13/interviews-with-authors-at-emwf-uzma-jalaluddin/ in The Ontarion (2018 Sep 13)

Marino, Andy (2014). Narendra Modi: A political biography. Ch. 7.

[Elst, Koenraad, Rao, Prof. Ramesh N., Gujarat after Godhra: real violence, selective outrage, 2003, Har Anand Publications, https://books.google.co.in/books?id=GuJtAAAAMAAJ, With]

Arundhati Roy, To the Jaffri Family, An Apology . May 27, 2002 . Quoted from The God of false things : How Arundhati Roy creates fake news and gets away with it https://www.opindia.com/2017/05/the-god-of-false-things-how-arundhati-roy-creates-fake-news-and-gets-away-with-it/

On how being a lawyer shaped her writing in “Exclusive interview: Petina Gappah speaks about the highs and lows of her writing career, and reveals details of her next book” https://johannesburgreviewofbooks.com/2017/09/04/exclusive-interview-petina-gappah-speaks-about-the-highs-and-lows-of-her-writing-career-and-reveals-details-of-her-next-book/ in the Johannesburg Review of Books (2017 Sep 4)

On the staying power of literature in “Samanta Schweblin on Revealing Darkness Through Fiction” https://lithub.com/samanta-schweblin-on-revealing-darkness-through-fiction/ in LitHub (2017 Jan 12)

On writing in “‘What is a heart? You have an organ in your body and you have a symbol of love’” https://www.theguardian.com/books/2017/apr/28/maylis-de-kerangal-interview-wellcome-prize-writing in The Guardian (2017 Apr 28)

Vikram Sampath - Savarkar, Echoes from a Forgotten Past

Speech https://api.parliament.uk/historic-hansard/lords/1986/jan/21/shops-bill-hl-1#column_159 in the House of Lords (21 January 1986) on the Shops Bill that would have ended government regulation of Sunday shopping in England and Wales
Later life

On her poetry not existing in a vacuum in “You Are on Display: An Interview with Morgan Parker” https://www.theparisreview.org/blog/2016/07/22/you-are-on-display-an-interview-with-morgan-parker/ in The Paris Review (2016 Jul 22)

On her book Dear Friend in “Yiyun Li: ‘I used to say that I was not an autobiographical writer – that was a lie’” https://www.thenation.com/article/laila-lalami-interview-the-other-americans/ in The Guardian (2017 Feb 24)

On incorporating his medicine background into his writings in “Interview: Tade Thompson” http://www.lightspeedmagazine.com/nonfiction/interview-tade-thompson/ in Lightspeed Magazine (October 2017)

On his research process in “"a cautionary tale" part II: Interview with Playwright Christopher Oscar Peña” http://www.theaterspeak.org/2013/07/part-ii-of-cautionary-tale-at-flea.html (Theaterspeak; 2013 Jul 15)

On how he became a writer in “An Interview with Dany Laferrière” https://www.wordswithoutborders.org/dispatches/article/an-interview-with-dany-laferriere-jessie-chaffee (WWB Daily, 2016)

On being a writer in “Both Freedom and Constraint: An Interview with Randa Abdel-Fattah” https://www.wordswithoutborders.org/article/both-freedom-and-constraint-an-interview-with in Words Without Borders (May 2015)

On how he wants to be perceived as a writer in “Édouard Louis: 'I want to be a writer of violence. The more you talk about it, the more you can undo it'” https://www.theguardian.com/books/2018/jun/09/edouard-louis-i-want-to-be-a-writer-of-violence-the-more-you-talk-about-it-the-more-you-can-undo-it in The Guardian (2018 Jun 9)

On writers overestimating the difference that their writings make in “An interview with Viet Thanh Nguyen” https://www.asymptotejournal.com/interview/an-interview-with-viet-thanh-nguyen/ in Asymptote Magazine

On writing his book Truffle Boy in “Ian Purkayastha: How I Write” https://www.writermag.com/writing-inspiration/author-interviews/ian-purkayastha-write/ in The Writer (2017 Aug 7)

On how her childhood affected her writing in “HAVING FAITH: AN INTERVIEW WITH KIRSTIN VALDEZ QUADE” https://as.vanderbilt.edu/nashvillereview/archives/14088 in The Nashville Review (2017 Dec 13)

Urban Naxals (2018)

Смятам, че ролята и на журналиста, и на писателя е критичният анализ. Разбира се и писателят, и журналистът плащат съответната цена.
Програма Хоризонт, https://bnr.bg/post/101200075, Bulgarian National Radio, December 2019

"The Intellectuals We Abandon", TruthDig https://www.truthdig.com/articles/the-intellectuals-we-abandon/page/2/ (3 September 2016)

The Conspiracy Against the Human Race: A Contrivance of Horror (2010)

Self-Culture (1838)

Who were the Shudras? (1946)

On her earliest influences in “JOSEFINA LÓPEZ – IN HER OWN WORDS” http://latinopia.com/latino-theater/josefina-lopez/ in Latinopia (2010 Mar 6)

On the still existing obstacles to pitching ideas in “Lena Waithe Is Changing the Game” https://www.vanityfair.com/hollywood/2018/03/lena-waithe-cover-story in Vanity Fair (April 2018)

BBC in: "Narasimha Rao - a reforming PM".

On being indirectly involved with the Chicano movement (as quoted in the book Chicana Ways: Conversations with Ten Chicana Writers https://books.google.com/books?id=yq0PkmCGWoEC&pg=PA205&lpg=PA205&dq)

On not feeling that a place is truly home in “Ariel Dorfman: 'Not to belong anywhere, to be displaced, is not a bad thing for a writer'” https://www.theguardian.com/books/2018/may/09/ariel-dorfman-not-to-belong-anywhere-to-be-displaced-is-not-a-bad-thing-for-a-writer in The Guardian (2018 May 9)

On how a written work may speak to you in “Nilo Cruz by Emily Mann” https://bombmagazine.org/articles/nilo-cruz/ in BOMB Magazine (2004 Jan 1)

Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. ... The name of our beautiful reward is not profit. Its name is freedom.
National Book Awards, November 2014 https://www.newyorker.com/books/page-turner/national-book-awards-ursula-le-guin

Source: 1780s, A Defence of the Constitutions of Government (1787), Ch. 1 Marchamont Nedham : The Right Constitution of a Commonwealth Examined"

1760s, A Dissertation on the Canon and Feudal Law (1765)

On Greatness; as quoted in "Unrequited obsession" https://www.smh.com.au/national/unrequited-obsession-20081011-gdsydo.html by Chris Jefferis, The Sydney Morning Herald (11 October 2008).

On how poetry can become a form of activism in “Split This Rock Interviews Freedom Plow Finalist Francisco Aragón” https://www.poetryfoundation.org/harriet/2017/04/split-this-rock-interviews-freedom-plow-finalist-francisco-aragon in Poetry Foundation (Apr 2017)

On how she processed literature differently at an early age in “Jacqueline Woodson On Growing Up, Coming Out And Saying Hi To Strangers” https://www.npr.org/2016/10/14/497953254/jacqueline-woodson-on-growing-up-coming-out-and-saying-hi-to-strangers in NPR (2016 Oct 14)

The Intellectuals We Abandon, TruthDig, https://www.truthdig.com/articles/the-intellectuals-we-abandon/page/2/ (3 September 2016)

Source: The Conquest of Bread (1892), Ch. 1 : Our Riches, p. 57

On the concept of “female writing” in “In a rare interview, Elena Ferrante describes the writing process behind the Neapolitan novels” https://www.latimes.com/books/la-ca-jc-elena-ferrante-interview-20180517-htmlstory.html in Los Angeles Times (2018 May 17)