
w:What More Can I Say'What more Can I Say
The Black Album (2003)
w:What More Can I Say'What more Can I Say
The Black Album (2003)
The Perfect Way in Diet (London: Kegan Paul, Trench & Co., 1881), pp. 13 https://archive.org/stream/perfectwayindie00kinggoog#page/n34-14.
Henry Ford (1922). Ford Ideals: Being a Selection from "Mr. Ford's Page" in The Dearborn Independent. p. 323; as cited in: William A. Levinson, Henry Ford, Samuel Crowther. The Expanded and Annotated My Life and Work: Henry Ford's Universal Code for World-Class Success. CRC Press, 2013. p. xxix
Girl, Interrupted (1994)
“I never knew a writer's wife who wasn't beautiful.”
Preface
Welcome to the Monkey House (1968)
Blurb on The Complete Strangers In Paradise (2004), Vol. 1
“All a writer has to do to get a woman is to say he's a writer. It's an aphrodisiac.”
As quoted in "Dailer's Choice" by Harriet Van Horne, in New York Magazine Vol. 10, No. 13 (28 March 1977), p. 80
General sources
1900s, Letter to Winfield T. Durbin (1903)
Chapter 12: Socialists and Feminists http://en.wikisource.org/wiki/The_Legal_Subjection_of_Men#Socialists_And_Feminists
The Legal Subjection of Men (1908)
"A Sketch of the Past" (written 1939, published posthumously)
Speech http://hansard.millbanksystems.com/commons/1851/feb/11/agricultural-distress in the House of Commons (2 February 1851).
1850s
“For a writer, to change languages is to write a love letter with a dictionary.”
Anathemas and Admirations (1987)
Preface to the 2004 edition of Dreams from My Father, p. x
2004
As quoted in "V.S. Naipaul in Search of Himself: A Conversation" with Mel Gussow, The New York Times, (24 April 1994)
I, xxi, 41. Modern translation by J.H. Taylor
De Genesi ad Litteram
The artist may see it differently; maybe he feels it should be a shot of Spider-Man swinging on his web, or climbing upside-down on the ceiling or something.
On the early days of work at Marvel Comics. Interview (1975) http://www.ditko.comics.org/ditko/why/whyquote.html
Robert Louis Stevenson Familiar Studies of Men and Books (London: Chatto & Windus, 1882), ch. 6.
Criticism
Fyodor Dostoevsky in a letter to his Niece Sofia Alexandrovna, Geneva, January 1, 1868. Ethel Golburn Mayne (1879), Letters of Fyodor Michailovitch Dostoyevsky to His Family and Friends http://www.archive.org/stream/lettersoffyodorm00dostiala/lettersoffyodorm00dostiala_djvu.txt, Dostoevsky's Letters XXXIX, p. 136.
“The writer is the engineer of the human soul.”
Said by Stalin at a meeting of fifty top Soviet writers at Maxim Gorky's house in Moscow (26 October 1932), as quoted in Simon Sebag Montefiore's Stalin: the Court of the Red Tsar, p. 85, and Edvard Radzinsky's Stalin, pp. 259-63. Primary source: K. Zelinsky's contemporary record of the event. It was published in English in Stalin and the Literary Intelligentsia,. (1991) by А. Kemp-Welch, Basingstoke and London, pp. 12-31.
Contemporary witnesses
Martin Seymour-Smith Guide to Modern World Literature (London: Hodder & Stoughton, 1975) vol. 3, p. 30.
Criticism
In response to complaints about the rapes and looting committed by the Red Army during the Second World War, as quoted in Conversations with Stalin (1963) by Milovan Djilas, p. 95
Contemporary witnesses
alt.fan.pratchett (1 December 1998) http://www.lspace.org/fandom/afp/timelines/discussions/is-pterry-going-downhill.html
Usenet
Introduction, p. viii.
On Writing Well (Fifth Edition, orig. pub. 1976)
“The writer’s job is the job of a clown …the clown who also talks about sorrow.”
Paris Review interview (2007)
Eight or Nine Wise Words About Letter-Writing (1890)
“I did have an inkling that I was going to be a writer. That was my intention.”
Interview in Toronto Canada (6 September 2000), by Jim Kunstler, Metropolis Magazine (March 2001)
address to LULAC (July 1, 2005)
2007, 2008
On her first pay cheque http://www.tellychakkar.com/tv/lifestyle/i-am-impulsive-when-it-comes-buying-clothes-and-jewellery-sukirti-kandpal/
"The Distracted Public" (1990)
It All Adds Up (1994)
Opening lines.
1770s, Common Sense (1776)
Everything must be doubted
Marx's replies to a set of questions given to him by his daughters Jenny and Laura in 1865 http://www.marxists.org/archive/marx/works/1865/04/01.htm
“A writer is in the end not his books, but his myth. And that myth is in the keeping of others.”
"Steinbeck in Monterey" (1970), in Daily Telegraph Magazine (3 April 1970), later published in The Overcrowded Barracoon, and other articles (1972)
Letter to Elizabeth Toldridge (8 March 1929), in Selected Letters II, 1925-1929 edited by August Derleth and Donald Wandrei, p. 316
Non-Fiction, Letters
Frankfurt Book Fair speech (2003)
Quoted in José Saramago: il bagaglio dello scrittore, page 41, by Giulia Lanciani, published by Bulzoni, 1996 ISBN 8871199332, 9788871199337 (256 pages).
"Facts That Put Fancy to Flight" (1962), p. 68
It All Adds Up (1994)
" My Father's Suitcase", Nobel Prize for Literature lecture http://nobelprize.org/nobel_prizes/literature/laureates/2006/pamuk-lecture_en.html (December 7, 2006).
Preface to Lear (1972; London: Methuen, 1983) p. lvii
"How I Write", The Writer, September 1954
1950s
Das Zentrum der geistigen Selbstdisziplin als solcher ist in Zersetzung begriffen. Die Tabus, die den geistigen Rang eines Menschen ausmachen, oftmals sedimentierte Erfahrungen und unartikulierte Erkenntnisse, richten sich stets gegen eigene Regungen, die er verdammen lernte, die aber so stark sind, daß nur eine fraglose und unbefragte Instanz ihnen Einhalt gebieten kann. Was fürs Triebleben gilt, gilt fürs geistige nicht minder: der Maler und Komponist, der diese und jene Farbenzusammenstellung oder Akkordverbindung als kitschig sich untersagt, der Schriftsteller, dem sprachliche Konfigurationen als banal oder pedantisch auf die Nerven gehen, reagiert so heftig gegen sie, weil in ihm selber Schichten sind, die es dorthin lockt. Die Absage ans herrschende Unwesen der Kultur setzt voraus, daß man an diesem selber genug teilhat, um es gleichsam in den eigenen Fingern zucken zu fühlen, daß man aber zugleich aus dieser Teilhabe Kräfte zog, sie zu kündigen. Diese Kräfte, die als solche des individuellen Widerstands in Erscheinung treten, sind darum doch keineswegs selber bloß individueller Art. Das intellektuelle Gewissen, in dem sie sich zusammenfassen, hat ein gesellschaftliches Moment so gut wie das moralische Überich. Es bildet sich an einer Vorstellung von der richtigen Gesellschaft und deren Bürgern. Läßt einmal diese Vorstellung nach—und wer könnte noch blind vertrauend ihr sich überlassen—, so verliert der intellektuelle Drang nach unten seine Hemmung, und aller Unrat, den die barbarische Kultur im Individuum zurückgelassen hat, Halbbildung, sich Gehenlassen, plumpe Vertraulichkeit, Ungeschliffenheit, kommt zum Vorschein. Meist rationalisiert es sich auch noch als Humanität, als den Willen, anderen Menschen sich verständlich zu machen, als welterfahrene Verantwortlichkeit. Aber das Opfer der intellektuellen Selbstdisziplin fällt dem, der es auf sich nimmt, viel zu leicht, als daß man ihm glauben dürfte, daß es eines ist.
E. Jephcott, trans. (1974), § 8
Minima Moralia (1951)
“Like most science-fiction writers, Trout knew almost nothing about science.”
Breakfast of Champions (1973)
As quoted in an interview with Jeremy Paxman, on Newsnight, as quoted in 'Harry is a lot, lot, lot angrier in this book' in The Telegraph (20 June 2003) http://www.telegraph.co.uk/culture/books/fictionreviews/3596993/Harry-is-a-lot-lot-lot-angrier-in-this-book.html)
2000s
“Geometry is to the plastic arts what grammar is to the art of the writer.”
La géométrie est aux arts plastiques ce que la grammaire est à l'art de l'écrivain.
Les peintres cubistes (1913), reprinted in Oeuvres en prose complètes (Paris: Gallimard, 1991) vol. 2, p. 11; translation from Lionel Abel (trans.) The Cubist Painters (New York: Wittenborn, 1949) p. 13.
in Karl Marx and World Literature (1976) by S. S. Prawer, p. 2.
Reflections of a Youth on Choosing an Occupation (1835)
Since I cartoonist ; quoted in AA.VV., Osamu Tezuka: A Manga Biography , vol. 3, translated by Marta Fogato, Coconino Press, Bologna, 2001, p. 73.
As quoted in In Victorian Days and Other Papers (1939) http://books.google.com/books?id=LfIjfuQGwOIC&printsec=frontcover&dq=In+Victorian+days&as_brr=0&cd=1#v=onepage&q=notorious&f=false by Sir David Oswald Hunter-Blair, p. 122
1790s, Discourse to the Theophilanthropists (1798)
"Isaac Singer’s Promised City" by Stefan Kanfer in City Journal (Summer 1997) http://www.city-journal.org/html/7_3_urbanities-isaac.html
For My Legionaries: The Iron Guard (1936), Politics
“I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences.”
Letter to George Devine (10 March 1964), printed in Kenneth Tynan : A Life by Dominic Shellard<!-- Yale University Press, 2003, --> , p. 292
Context: I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences. I count myself as a member of an intelligent audience, and I wrote to you as such. That you should disagree with me I can understand, but that you should resent my expressing my opinions is something that frankly amazes me. I thought we had outgrown the idea of theatre as a mystic rite born of secret communion between author, director, actors and an empty auditorium.
“I am the kind of writer who rewrites and rewrites.”
Paris Review interview (2007)
Context: I am the kind of writer who rewrites and rewrites. I am very eager to correct everything. If you look at one of my manuscripts, you can see I make many changes. So one of my main literary methods is “repetition with difference.” I begin a new work by first attempting a new approach toward a work that I’ve already written — I try to fight the same opponent one more time. Then I take the resulting draft and continue to elaborate upon it, and as I do so the traces of the old work disappear. I consider my literary work to be a totality of differences within repetition.
I used to say that this elaboration was the most important thing for a novelist to learn.
“Writers may be solitary but they also tend to flock together: they like being solitary together.”
Context: Writers may be solitary but they also tend to flock together: they like being solitary together. I knew a lot of writers in London and many of them were award-winning writers and many of them were award-winning, respectable writers. And the trouble with being an award-winning, respectable writer is that you probably are not making a living.
If you write one well-reviewed, well-respected, not bad selling, but not a bestseller list book every three years, which you sell for a whopping 30,000 pounds, that's still going to average out to 10,000 pounds a year and you will make more managing a McDonald's. With overtime you'd probably make more working in a McDonald's. So there were incredibly well-respected, award-winning senior writers who, to make ends meet, were writing film novelizations and TV novelizations under pen names that they were desperately embarrassed about and didn't want anybody to know about.
January magazine interview (2002)
Source: Factotum (1975), Ch. 73
Context: There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i. e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.
Tradition and the Individual Talent (1919)
Context: The historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity.
"The Distracted Public" (1990), p. 167
It All Adds Up (1994)
Context: Writers, poets, painters, musicians, philosophers, political thinkers, to name only a few of the categories affected, must woo their readers, viewers, listeners, from distraction. To this we must add, for simple realism demands it, that these same writers, painters, etc., are themselves the children of distraction. As such, they are peculiarly qualified to approach the distracted multitudes. They will have experienced the seductions as well as the destructiveness of the forces we have been considering here. This is the destructive element in which we do not need to be summoned to immerse ourselves, for we were born to it.
Tragedy and the Common Man (1949)
Context: There is a misconception of tragedy with which I have been struck in review after review, and in many conversations with writers and readers alike. It is the idea that tragedy is of necessity allied to pessimism. Even the dictionary says nothing more about the word than that it means a story with a sad or unhappy ending. This impression is so firmly fixed that I almost hesitate to claim that in truth tragedy implies more optimism in its author than does comedy, and that its final result ought to be the reinforcement of the onlooker's brightest opinions of the human animal.
For, if it is true to say that in essence the tragic hero is intent upon claiming his whole due as a personality, and if this struggle must be total and without reservation, then it automatically demonstrates the indestructible will of man to achieve his humanity.
My Day (1935–1962)
Context: I have waited a while before saying anything about the Un-American Activities Committee's current investigation of the Hollywood film industry. I would not be very much surprised if some writers or actors or stagehands, or what not, were found to have Communist leanings, but I was surprised to find that, at the start of the inquiry, some of the big producers were so chicken-hearted about speaking up for the freedom of their industry.
One thing is sure — none of the arts flourishes on censorship and repression. And by this time it should be evident that the American public is capable of doing its own censoring. Certainly, the Thomas Committee is growing more ludicrous daily. (29 October 1947)
“A writer is essentially a man who does not resign himself to loneliness.”
“You become writer by writing . It is a yoga .”
Ante-Nicene Christian library: v. 3 p. 42
Address to the Greeks
On the Gary Soto Literary Museum in Fresno, California in “Jo Ellen Misakian Interviews Author Gary Soto on His New Books, Writing & the Gary Soto Literary Museum” https://cynthialeitichsmith.com/2011/10/jo-ellen-misakian-interviews-author/ (Cynthia Leitich Smith site)
On her writing style in “Amulya Malladi: How I Write” https://www.writermag.com/writing-inspiration/author-interviews/amulya-malladi/ in The Writer (2018 May 22)
Autobiography (1936; 1949; 1958)
Fidel Castro Reader, pp. 238
Words to Intellectuals (1961)
Said to portrait painter Samuel Johnson Woolf, cited in Here am I (1941), Samuel Johnson Woolf; this has often been abbreviated: Most writers regard truth as their most valuable possession, and therefore are most economical in its use.
"Lettre XII: sur M. Pope et quelques autres poètes fameux," Lettres philosophiques (1756 edition)
Variants:
He looked on everything as imitation. The most original writers, he said, borrowed one from another. Boyardo has imitated Pulci, and Ariofio Boyardo. The instruction we find in books is like fire; we fetch it from our neighbour, kindle it as home, communicate it to others, and it becomes the property of all.
Historical and Critical Memoirs of the Life and Writings of M. de Voltaire (1786) by Louis Mayeul Chaudon, p. 348
What we find in books is like the fire in our hearths. We fetch it from our neighbors, we kindle it at home, we communicate it to others, and it becomes the property of all.
As translated in Geary's Guide to the World's Great Aphorists (2008), by James Geary, p. 373
Original: (fr) Ainsi, presque tout est imitation. L’idée des Lettres persanes est prise de celle de l’Espion turc. Le Boiardo a imité le Pulci, l’Arioste a imité le Boiardo. Les esprits les plus originaux empruntent les uns des autres. Michel Cervantes fait un fou de son don Quichotte; mais Roland est-il autre chose qu'un fou? Il serait difficile de décider si la chevalerie errante est plus tournée en ridicule par les peintures grotesques de Cervantes que par la féconde imagination de l'Arioste. Métastase a pris la plupart de ses opéras dans nos tragédies françaises. Plusieurs auteurs anglais nous ont copiés, et n'en ont rien dit. Il en est des livres comme du feu de nos foyers; on va prendre ce feu chez son voisin, on l’allume chez soi, on le communique à d’autres, et il appartient à tous.
On being expected to just write stories about sad Muslims in “Elif Shafak: ‘When women are divided it is the male status quo that benefits’” https://www.theguardian.com/books/2017/feb/05/elif-shafak-turkey-three-daughters-of-eve-interview in The Guardian (2017 Feb 5)
On his wanting to become a writer at an early age in " From Poverty to Power: The Inspiring Story of Tomas Rivera http://www.teenink.com/nonfiction/academic/article/778847/From-Poverty-to-Power-The-Inspiring-Story-of-Tomas-Rivera" (TeenInk)
"Star actor Gong Yoo hopes his filmography can show who he is" in Yonhap https://en.yna.co.kr/view/AEN20210414006600315 (14 April 2021)
“Be you writer or reader, it is very pleasant to run away in a book.”
Source: My Side of the Mountain
"How Easy to See the Future", Natural History magazine (April 1975);
General sources
Source: Postscript to the Name of the Rose
“A writer only begins a book. A reader finishes it.”
Source: Works of Samuel Johnson
Source: An Erotic Beyond: Sade