Quotes about writer
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Jay-Z photo
Anna Kingsford photo

“How many times, for instance, have we not heard people speak with all the authority of conviction about the "canine teeth" and "simple stomach" of man, as certain evidence of his natural adaptation for a flesh diet! At least we have demonstrated one fact; that if such arguments are valid, they apply with even greater force to the anthropoid apes—whose "canine" teeth are much longer and more powerful than those of man … And yet, with the solitary exception of man, there is not one of these last which does not in a natural condition absolutely refuse to feed on flesh! M. Pouchet observes that all the details of the digestive apparatus in man, as well as his dentition, constitute "so many proofs of his frugivorous origin"—an opinion shared by Professor Owen, who remarks that the anthropoids and all the quadrumana derive their alimentation from fruits, grains, and other succulent and nutritive vegetable substances, and that the strict analogy which exists between the structure of these animals and that of man clearly demonstrates his frugivorous nature. This is also the view taken by Cuvier, Linnæus, Professor Lawrence, Charles Bell, Gassendi, Flourens, and a great number of other eminent writers.”

Anna Kingsford (1846–1888) English physician, activist and feminist

The Perfect Way in Diet (London: Kegan Paul, Trench & Co., 1881), pp. 13 https://archive.org/stream/perfectwayindie00kinggoog#page/n34-14.

Francisco Varela photo
Virginia Woolf photo
Henry Ford photo

“So, while the people are indeed supreme over the written Constitution, the spiritual constitution is supreme over them. The French Revolutionists wrote constitutions too—every drunken writer among them tossed off a constitution. Where are they? All vanished. Why? Because they were not in harmony with the constitution of the universe. The power of the Constitution is not dependent on any Government, but on its inherent rightness and practicability.”

Henry Ford (1863–1947) American industrialist

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

Kenzaburō Ōe photo
Kurt Vonnegut photo

“I never knew a writer's wife who wasn't beautiful.”

Kurt Vonnegut (1922–2007) American writer

Preface
Welcome to the Monkey House (1968)

Neil Gaiman photo
Saul Bellow photo

“All a writer has to do to get a woman is to say he's a writer. It's an aphrodisiac.”

Saul Bellow (1915–2005) Canadian-born American writer

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

Koenraad Elst photo
Theodore Roosevelt photo
Thomas Mann photo
Ernest Belfort Bax photo
Virginia Woolf photo
Benjamin Disraeli photo

“I remember—the interruption of the hon. Gentleman reminds me of the words of a great writer, who said that "Grace was beauty in action." Sir, I say that justice is truth in action. Truth should animate an opposition, and I hope it does animate this opposition.;”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Speech http://hansard.millbanksystems.com/commons/1851/feb/11/agricultural-distress in the House of Commons (2 February 1851).
1850s

Emil M. Cioran photo

“For a writer, to change languages is to write a love letter with a dictionary.”

Emil M. Cioran (1911–1995) Romanian philosopher and essayist

Anathemas and Admirations (1987)

Barack Obama photo
V.S. Naipaul photo

“To this day, if you ask me how I became a writer, I cannot give you an answer. To this day, if you ask me how a book is written, I cannot answer. For long periods, if I didn't know that somehow in the past I had written a book, I would have given up.”

V.S. Naipaul (1932–2018) Trinidadian-British writer of Indo-Nepalese ancestry

As quoted in "V.S. Naipaul in Search of Himself: A Conversation" with Mel Gussow, The New York Times, (24 April 1994)

Aurelius Augustinus photo

“To such a one my answer is that I have arrived at a nourishing kernel in that I have learnt that a man is not in any difficulty in making a reply according to his faith which he ought to make to those who try to defame our Holy Scripture. When they are able, from reliable evidence, to prove some fact of physical science, we shall show that it is not contrary to our Scripture. But when they produce from any of their books a theory contrary to Scripture, and therefore contrary to the Catholic faith, either we shall have some ability to demonstrate that it is absolutely false, or at least we ourselves will hold it so without any shadow of a doubt. And we will so cling to our Mediator, “in whom are hidden all the treasures of wisdom and knowledge,” that we will not be led astray by the glib talk of false philosophy or frightened by the superstition of false religion. When we read the inspired books in the light of this wide variety of true doctrines which are drawn from a few words and founded on the firm basis of Catholic belief, let us choose that one which appears as certainly the meaning intended by the author. But if this is not clear, then at least we should choose an interpretation in keeping with the context of Scripture and in harmony with our faith. But if the meaning cannot be studied and judged by the context of Scripture, at least we should choose only that which our faith demands. For it is one thing to fail to recognize the primary meaning of the writer, and another to depart from the norms of religious belief. If both these difficulties are avoided, the reader gets full profit from his reading."”

Aurelius Augustinus (354–430) early Christian theologian and philosopher

I, xxi, 41. Modern translation by J.H. Taylor
De Genesi ad Litteram

Stan Lee photo
Thomas Mann photo
Francois Villon photo
Fyodor Dostoyevsky photo

“All writers, not ours alone but foreigners also, who have sought to represent Absolute Beauty, were unequal to the task, for it is an infinitely difficult one. The beautiful is the ideal; but ideals, with us as in civilized Europe, have long been wavering. There is in the world only one figure of absolute beauty: Christ. That infinitely lovely figure is, as a matter of course, an infinite marvel.”

Fyodor Dostoyevsky (1821–1881) Russian author

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.

Joseph Stalin photo

“The writer is the engineer of the human soul.”

Joseph Stalin (1879–1953) General secretary of the Communist Party of the Soviet Union

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

Anthony de Mello photo
Giuseppe Tomasi di Lampedusa photo

“No nineteenth-century writer could have written this nineteenth-century tale; but few twentieth-century writers could have handled its simplicities in the way this one does.”

Giuseppe Tomasi di Lampedusa (1896–1957) Sicilian writer and prince

Martin Seymour-Smith Guide to Modern World Literature (London: Hodder & Stoughton, 1975) vol. 3, p. 30.
Criticism

Joseph Stalin photo

“Does Djilas, who is himself a writer, not know what human suffering and the human heart are? Can't he understand it if a soldier who has crossed thousands of kilometers through blood and fire and death has fun with a wench or takes some trifle?”

Joseph Stalin (1879–1953) General secretary of the Communist Party of the Soviet Union

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

Terry Pratchett photo

“While a book has got to be worthwhile from the point of view of the reader it's got to be worthwhile from the point of view of the writer as well.”

Terry Pratchett (1948–2015) English author

alt.fan.pratchett (1 December 1998) http://www.lspace.org/fandom/afp/timelines/discussions/is-pterry-going-downhill.html
Usenet

Lucy Parsons photo

“This is a book by a writer who does some teaching, not a book by a teacher who does some writing, and one of the satisfactions of the craft is that there's always something new to learn.”

William Zinsser (1922–2015) writer, editor, journalist, literary critic, professor

Introduction, p. viii.
On Writing Well (Fifth Edition, orig. pub. 1976)

Abraham Lincoln photo
Kenzaburō Ōe photo

“The writer’s job is the job of a clown …the clown who also talks about sorrow.”

Kenzaburō Ōe (1935) Japanese author

Paris Review interview (2007)

Thomas Paine photo
Lewis Carroll photo
Jane Jacobs photo

“I did have an inkling that I was going to be a writer. That was my intention.”

Jane Jacobs (1916–2006) American–Canadian journalist, author on urbanism and activist (1916-2006)

Interview in Toronto Canada (6 September 2000), by Jim Kunstler, Metropolis Magazine (March 2001)

Gloria Estefan photo

“I dreamed of becoming a writer. And... this dream is about to become a reality with the publication of my first, and hopefully not my last, children's book...”

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

address to LULAC (July 1, 2005)
2007, 2008

Thomas Mann photo

“The writer’s joy is the thought that can become emotion, the emotion that can wholly become a thought.”

Source: Death in Venice (1912), Ch. 4, as translated by David Luke

Arthur Miller photo
Sukirti Kandpal photo

“I have a very good handwriting, and when I was 15 year old I was selected from my college to be a ghost writer in the exams for this girl who had injured her hand. I received a pay check of Rs 2500 and was extremely happy.”

Sukirti Kandpal (1987) Indian actress

On her first pay cheque http://www.tellychakkar.com/tv/lifestyle/i-am-impulsive-when-it-comes-buying-clothes-and-jewellery-sukirti-kandpal/

Saul Bellow photo
Vladimir Nabokov photo
Thomas Paine photo
José Saramago photo
Oscar Wilde photo
Karl Marx photo
V.S. Naipaul photo

“A writer is in the end not his books, but his myth. And that myth is in the keeping of others.”

V.S. Naipaul (1932–2018) Trinidadian-British writer of Indo-Nepalese ancestry

"Steinbeck in Monterey" (1970), in Daily Telegraph Magazine (3 April 1970), later published in The Overcrowded Barracoon, and other articles (1972)

Galileo Galilei photo
H.P. Lovecraft photo
Kurt Vonnegut photo
Susan Sontag photo
José Saramago photo

“A writer is a man like any other: he dreams. And my dream was to be able to say of this book, when I finished: 'This is a book about Alentejo.”

José Saramago (1922–2010) Portuguese writer and recipient of the 1998 Nobel Prize in Literature

Quoted in José Saramago: il bagaglio dello scrittore‎, page 41, by Giulia Lanciani, published by Bulzoni, 1996 ISBN 8871199332, 9788871199337 (256 pages).

Saul Bellow photo
Orhan Pamuk photo

“The question we writers are asked most often, the favorite question, is: Why do you write? I write because I have an innate need to write. I write because I can’t do normal work as other people do. I write because I want to read books like the ones I write. I write because I am angry at everyone. I write because I love sitting in a room all day writing. I write because I can partake of real life only by changing it. I write because I want others, the whole world, to know what sort of life we lived, and continue to live, in Istanbul, in Turkey. I write because I love the smell of paper, pen, and ink. I write because I believe in literature, in the art of the novel, more than I believe in anything else. I write because it is a habit, a passion. I write because I am afraid of being forgotten. I write because I like the glory and interest that writing brings. I write to be alone. Perhaps I write because I hope to understand why I am so very, very angry at everyone. I write because I like to be read. I write because once I have begun a novel, an essay, a page I want to finish it. I write because everyone expects me to write. I write because I have a childish belief in the immortality of libraries, and in the way my books sit on the shelf. I write because it is exciting to turn all life’s beauties and riches into words. I write not to tell a story but to compose a story. I write because I wish to escape from the foreboding that there is a place I must go but—as in a dream—can’t quite get to. I write because I have never managed to be happy. I write to be happy.”

Orhan Pamuk (1952) Turkish novelist, screenwriter, and Nobel Prize in Literature recipient

" My Father's Suitcase", Nobel Prize for Literature lecture http://nobelprize.org/nobel_prizes/literature/laureates/2006/pamuk-lecture_en.html (December 7, 2006).

Edward Bond photo
Neil Gaiman photo
Bertrand Russell photo
Theodor W. Adorno photo

“The center of intellectual self-discipline as such is in the process of decomposition. The taboos that constitute a man’s intellectual stature, often sedimented experiences and unarticulated insights, always operate against inner impulses that he has learned to condemn, but which are so strong that only an unquestioning and unquestioned authority can hold them in check. What is true of the instinctual life is no less of the intellectual: the painter or composer forbidding himself as trite this or that combination of colors or chords, the writer wincing at banal or pedantic verbal configurations, reacts so violently because layers of himself are drawn to them. Repudiation of the present cultural morass presupposes sufficient involvement in it to feel it itching in one’s finger-tips, so to speak, but at the same time the strength, drawn from this involvement, to dismiss it. This strength, though manifesting itself as individual resistance, is by no means of a merely individual nature. In the intellectual conscience possessed of it, the social movement is no less present than the moral super-ego. Such conscience grows out of a conception of the good society and its citizens. If this conception dims—and who could still trust blindly in it—the downward urge of the intellect loses its inhibitions and all the detritus dumped in the individual by barbarous culture—half-learning, slackness, heavy familiarity, coarseness—comes to light. Usually it is rationalized as humanity, desire to be understood by others, worldly-wise responsibility. But the sacrifice of intellectual self-discipline comes much too easily to him who makes it for us to believe his assurance that it is one.”

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)

Kurt Vonnegut photo
Joanne K. Rowling photo
Guillaume Apollinaire photo

“Geometry is to the plastic arts what grammar is to the art of the writer.”

Guillaume Apollinaire (1880–1918) French poet

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.

Karl Marx photo
Osamu Tezuka photo
Oscar Wilde photo

“God knows; I won't be an Oxford don anyhow. I'll be a poet, a writer, a dramatist. Somehow or other I'll be famous, and if not famous, I'll be notorious. Or perhaps I'll lead the life of pleasure for a time and then—who knows?—rest and do nothing. What does Plato say is the highest end that man can attain here below? To sit down and contemplate the good. Perhaps that will be the end of me too.”

Oscar Wilde (1854–1900) Irish writer and poet

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

Thomas Paine photo
Isaac Bashevis Singer photo

“I know as a writer how valuable a tool is the wastebasket. Perhaps God throws away many experiments before He finds the right expression. Perhaps we are the discards — or we could be the part He keeps. This mystery is what keeps us all going, to see what happens in the next chapter.”

Isaac Bashevis Singer (1902–1991) Polish-born Jewish-American author

"Isaac Singer’s Promised City" by Stefan Kanfer in City Journal (Summer 1997) http://www.city-journal.org/html/7_3_urbanities-isaac.html

Kenzaburō Ōe photo
Corneliu Zelea Codreanu photo

“I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences.”

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

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.

Kenzaburō Ōe photo

“I am the kind of writer who rewrites and rewrites.”

Kenzaburō Ōe (1935) Japanese author

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.

Neil Gaiman photo

“Writers may be solitary but they also tend to flock together: they like being solitary together.”

Neil Gaiman (1960) English fantasy writer

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)

Charles Bukowski photo

“Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer.”

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.

T.S. Eliot photo

“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.”

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.

Saul Bellow photo

“Writers, poets, painters, musicians, philosophers, political thinkers, to name only a few of the categories affected, must woo their readers, viewers, listeners, from distraction.”

Saul Bellow (1915–2005) Canadian-born American writer

"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.

Arthur Miller photo

“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.”

Arthur Miller (1915–2005) playwright from the United States

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.

Eleanor Roosevelt photo

“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.”

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)

R. K. Narayan photo

“You become writer by writing . It is a yoga .”

R. K. Narayan (1906–2001) writer of Indian English literature
Gary Soto photo

“Mine is literary, and mine has a story to tell about a little boy with gaps in his education who became a writer. I’m hoping that the visitor will be curious, not unlike when someone goes to another person’s house for the first time—you look around and learn something about that person. We’re curious creatures, right?”

Gary Soto (1952) American poet and writer

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)

Jawaharlal Nehru photo
Fidel Castro photo
Mark Twain photo

“A critic never made or killed a book or a play. The people themselves are the final judges. It is their opinion that counts. After all, the final test is truth. But the trouble is that most writers regard truth as their most valuable possession and therefore are most economical in its use.”

Mark Twain (1835–1910) American author and humorist

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.

Premchand photo
Voltaire photo

“Thus, almost everything is imitation. The idea of The Persian Letters was taken from The Turkish Spy. Boiardo imitated Pulci, Ariosto imitated Boiardo. The most original minds borrowed from one another. Miguel de Cervantes makes his Don Quixote a fool; but pray is Orlando any other? It would puzzle one to decide whether knight errantry has been made more ridiculous by the grotesque painting of Cervantes, than by the luxuriant imagination of Ariosto. Metastasio has taken the greatest part of his operas from our French tragedies. Several English writers have copied us without saying one word of the matter. It is with books as with the fire in our hearths; we go to a neighbor to get the embers and light it when we return home, pass it on to others, and it belongs to everyone”

"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.

Elif Shafak photo

“It is because of identity politics – we are, sadly, becoming more tribal. The expectation seems to be that a writer from each tribe must tell the story of that tribe. I’m Turkish but also many other things. For me, imagination is a desire to transcend boundaries. When we write, we can be multiple.”

Elif Shafak (1971) Turkish writer

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)

“When people asked what I wanted to be, I'd tell them a writer. They were surprised or indifferent. If people don't read, what is a writer?”

Tomás Rivera (1935–1984) American academic

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)

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“Usually, I'm attracted by screenplays that stir my curiosity. I try to ask myself why the writer wants to tell this story.”

Gong Yoo (1979) South Korean actor

"Star actor Gong Yoo hopes his filmography can show who he is" in Yonhap https://en.yna.co.kr/view/AEN20210414006600315 (14 April 2021)

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“Science fiction writers foresee the inevitable, and although problems and catastrophes may be inevitable, solutions are not.”

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

"How Easy to See the Future", Natural History magazine (April 1975);
General sources

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“When the writer (or the artist in general) says he has worked without giving any thought to the rules of the process, he simply means he was working without realizing he knew the rules.”

Umberto Eco (1932–2016) Italian semiotician, essayist, philosopher, literary critic, and novelist

Source: Postscript to the Name of the Rose

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“A writer only begins a book. A reader finishes it.”

Samuel Johnson (1709–1784) English writer

Source: Works of Samuel Johnson

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“I don't believe that there are dangerous writers: the danger of certain books is not in the books themselves but in the passions of their readers.”

Octavio Paz (1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature

Source: An Erotic Beyond: Sade