Quotes about writing

page 43

Paris Review interview (1996)

Otherworld Cadences (1920)

The exigencies of the drive to originality can, as Valéry understood, promote a deep uncertainty about one's personal value. If one is a product, is it new enough? Perfect? One of a kind?
New York City (p. 259).
States of Desire: Travels in Gay America (1980)

The Life of Reason: The Phases of Human Progress (1905-1906), Vol. V, Reason in Science

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

Source: The New Drawing on the Right Side of the Brain (1979), p.196

Ibid, p.407

Essay on Poetry (published 1723).

"Recent Poetry," The Yale Review (Autumn 1955) [p. 237]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

Billy Joe Shaver Bares 'Tooth,' First Album in Seven Years (2014)

Interview with Brian Tyler https://8dio.com/2012/12/05/interview-with-brian-tyler/ (December 5, 2012)

[8162@jpl-devvax.JPL.NASA.GOV, 1990]
Usenet postings, 1990

Elmira Star Gazette (1973), Interview with Jane Roberts, quoted on p. 14 of Susan M. Watkins' Speaking of Jane Roberts (2001)

The Mysterious Flame of Queen Loana (2004)

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

Literary Power
The Note-Books of Samuel Butler (1912), Part VII - On the Making of Music, Pictures, and Books

Source: Paris Review interview (1972), p. 250

I'll be famous! Brain discovered in a soldier.
Doctor Jethro McCann, to Captain Richard Sharpe, after sewing up a severe head wound, p. 78
Sharpe (Novel Series), Sharpe's Fury (2006)

Gordon Ball (1977), Journals: Early Fifties Early Sixties, Grove Press NY
Journals: Early Fifties Early Sixties

Explaining the origins http://www.roger-zelazny.com/repository/absmag.html of his last book, A Night in the Lonesome October in an interview (Absolute Magnitude Autumn/Winter 1994)

Source: A Stranger in Olondria (2013), Chapter 3, “Doorways” (p. 19; the first sentence is echoed on p. 273)

Interview with John Cleary (23 February 2003).
2000s

The Buildings of England

#25
Vectors: Aphorisms and Ten Second Essays (2001)

Source: Consciousness Explained (1991), p. 253–4.

Source: The Managerial Revolution, 1941, p. 57; Cited in Fred Riggs (1970) "Introduction: Shifting Meanings of the Term 'Bureaucracy'"

Borrowed Tune
Song lyrics, Tonight's the Night (1975)

Prologue, pp. 2-3.
Historia Anglorum (The History of the English People)

Source: The Cambridge Encyclopedia of the English Language, 1987, p. 377

A Fable for Critics (1848)

Interview for French TV (1998)

"Klayton Scott - Celldweller," (2003)

as interviewed by Elias Isquith, salon.com http://www.salon.com/2015/06/04/we_are_in_a_revolutionary_moment_chris_hedges_explains_why_an_uprising_is_coming_%E2%80%94_and_soon/

Quote from Duchamp's letter to Jean Mayoux (a Surrealist artist), New York, 8 March 1956; as cited in The Duchamp Book, ed. Gavin Parkinson, Tate Publishing, London 2008 p. 169
1951 - 1968

As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

Go Rin No Sho (1645), Introduction

The Psychedelic Experience (1964), p. 12

Source: Cours de linguistique générale (1916), p. 31

"Riders Beyond the Sunrise" (1967)

Don't Blame Me https://web.archive.org/web/20120621054133/http://www.georgecarlin.com/home/dontblame.html
Internet, Georgecarlin.com (official website)

1962, Address at Independence Hall

Source: Dream of the Red Chamber (1958), p. 272

For My Legionaries: The Iron Guard (1936), Jewish Problem

Books, What's So Great About America (2003)

Source: A History of Mathematics (1893), pp. 253-254; Cited in: Moritz (1914, 155); Persons and anecdotes.

Hegel, Georg Wilhelm Friedrich, Lectures on the philosophy of religion, together with a work on the proofs of the existence of God. Vol 2 Translated from the 2d German ed. 1895 Ebenezer Brown Speirs 1854-1900, and J Burdon Sanderson p. 27
Lectures on Philosophy of Religion, Volume 2
Context: An Englishman who, by a most careful investigation into the various representations, has sought to discover what is meant by Brahma, believes that Brahma is an epithet of praise, and is used as such just because he is not looked on as being himself solely this One, but, on the contrary, everything says of itself that it is Brahma. I refer to what Mill says in his History of India. He proves from many Indian writings that it is an epithet of praise which is applied to various deities, and does not represent the conception of perfection or unity which we associate with it. This is a mistake, for Brahma is in one aspect the One, the Immutable, who has, however, the element of change in him, and because of this, the rich variety of forms which is thus essentially his own is also predicated of him. Vishnu is also called the Supreme Brahma. Water and the sun are Brahma.

Personal inscription on a copy of Mother Goose in Prose (1897) which he gave to his sister, Mary Louise Baum Brewster, as quoted in The Making of the Wizard of Oz (1998) by Aljean Harmetz, p. 317
Letters and essays
Context: When I was young I longed to write a great novel that should win me fame. Now that I am getting old my first book is written to amuse children. For aside from my evident inability to do anything "great," I have learned to regard fame as a will-o-the-wisp which, when caught, is not worth the possession; but to please a child is a sweet and lovely thing that warms one's heart and brings its own reward.

In Pursuit of Valis: Selections from the Exegesis (1991)
Context: I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation. Yet this seems somehow to help a certain kind of sensitive troubled person, for whom I speak. I think I understand the common ingredient in those whom my writing helps: they cannot or will not blunt their own intimations about the irrational, mysterious nature of reality, and, for them, my corpus of writing is one long ratiocination regarding this inexplicable reality, an investigation and presentation, analysis and response and personal history. My audience will always be limited to those people.

"The Shadowland of Dreams".
Context: I knew I wanted to write. I had dreamed about it for years. I wasn’t going to be one of those people who die wondering, “What if?” I would keep putting my dream to the test — even though it meant living with uncertainty and fear of failure. This is the Shadowland of hope, and anyone with a dream must learn to live there. If you can't live here, get back to YOUR roots and LEARN to live here!

Songfacts interview (2007)
Context: I think the trick for any songwriter is authenticity. For the young songwriter coming up who is connected to his generation, as I was connected to mine, write honestly about what's going on in the center of your life. You know, when "We've Only Just Begun" was a Number 1 record, I think the Number 1 album in the country was "In-A-Gadda-Da-Vida." So it was as far away from what was happening in the music scene as you can get. And yet it was a hit. I think it was a hit because of, obviously, Karen's amazing vocal, but I think that any time we write authentically and honestly about what's going on in the center of our chest, because people are so much alike, there's a big a chance that it's going on in the center of your chest, too.

talking about http://asoiaf.westeros.org/index.php/topic/30792-daniel-abraham/page__st__60 his epic fantasy series The Dagger and the Coin
Context: For the moment, it's called the Dagger and the Coin, but with any luck, that'll swap out for a better name. There are some things in the proposal that need to get smoothed out so that everyone's on board, but I think it'll happen.
It's a very different from the Long Price books. It looks and feels more like traditional epic fantasy -- quasi-Europe, ferinstance, and some dragons in the background, no 15-year gaps between books -- but the plot structure is packed with everything I think is cool. There are echoes I'm intentionally building in of from things as familiar as Firefly and The Count of Monte Cristo and as obscure as Tevis' Queen's Gambit and Reck-Malleczewen's Diary of a Man in Despair. And the magic system is all about faith and deception, which will be tricky and fun both.
What I want to do is write something that I could read now (39 years old, married, raising a kid, 10 year IT career behind me, post 9-11, post-Bush, etc.) with the same joy I read the Belgariad when I was 16.

Paris Review interview (1958)
Context: You can write any time people will leave you alone and not interrupt you. Or rather you can if you will be ruthless enough about it. But the best writing is certainly when you are in love.

Source: Essays In Biography (1933), Alfred Marshall, p. 212

The reference to Cassius is that of the character in William Shakespeare's play Julius Caesar. Listen to an mp3 sound file http://www.otr.com/murrow_mccarthy.shtml of parts of this statement.
See It Now (1954)
Context: No one familiar with the history of this country can deny that congressional committees are useful. It is necessary to investigate before legislating, but the line between investigating and persecuting is a very fine one and the junior Senator from Wisconsin has stepped over it repeatedly. His primary achievement has been in confusing the public mind as between the internal and the external threats of communism. We must not confuse dissent with disloyalty. We must remember always that accusation is not proof and that conviction depends upon evidence and due process of law. We will not walk in fear, one of another. We will not be driven by fear into an age of unreason, if we dig deep in our history and our doctrine, and remember that we are not descended from fearful men — not from men who feared to write, to speak, to associate and to defend causes that were, for the moment, unpopular. This is no time for men who oppose Senator McCarthy's methods to keep silent, or for those who approve. We can deny our heritage and our history, but we cannot escape responsibility for the result. There is no way for a citizen of a republic to abdicate his responsibilities. As a nation we have come into our full inheritance at a tender age. We proclaim ourselves, as indeed we are, the defenders of freedom, wherever it continues to exist in the world, but we cannot defend freedom abroad by deserting it at home. The actions of the junior Senator from Wisconsin have caused alarm and dismay amongst our allies abroad, and given considerable comfort to our enemies. And whose fault is that? Not really his. He didn't create this situation of fear; he merely exploited it — and rather successfully. Cassius was right. "The fault, dear Brutus, is not in our stars, but in ourselves." Good night, and good luck.

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

Quotes from interviews, Sydney Morning Herald interview (2003)
Context: Things are much more complicated. Feminism versus pornography, for example. There are a lot of feminists who think it is bad, but others think it's good.
I have become, you might call it mature — I would call it senile — and I can see both sides. But you can't write a satirical song with 'but on the other hand' in it, or 'however'. It's got to be one-sided.

Source: A Brief Guide to the Standard Object Modeling Language, 2004, p. 2

"The Risk Taker" http://books.guardian.co.uk/departments/politicsphilosophyandsociety/story/0,,635799,00.html, profile/interview by Gary Younge, The Guardian (19 January 2002)
Context: I guess I think I'm writing for people who are smarter than I am, because then I'll be doing something that's worth their time. I'd be very afraid to write from a position where I consciously thought I was smarter than most of my readers.

Period I To the Revival of Letters in Erope
The History and Present State of Discoveries Relating to Vision, Light, and Colours (1772)
Context: In his Opus Majus he demonstrates, that if a transparent body, interposed between the eye and an object, be convex towards the eye, the object will appear magnified. This observation our author certainly had from Alhazen... this writer [Bacon] gives us figures, representing the progress of rays of light through his spherical segment, as well as endeavours to give reasons why objects are magnified... From the writings of Alhazen and these observations and experiments of Bacon together, it is not improbable that some monks gradually hit upon the construction of spectacles, to which Bacon's lesser segment, not withstanding his mistake concerning it, was a nearer approach than Alhazen's... Whoever they were that pursued the discoveries of Bacon, they probably observed, that a very small convex glass, when held at a greater distance from a book, would magnify the letters more than when it was placed close to them, in which position only Bacon seemed to have used it. In the next place, they might try whether two of these small segments of a sphere placed together, or a glass convex on both sides, would not magnify more than one of them. They would then find, that two of these glasses, one for each eye, would answer the purpose of reading better than one; and lastly they might find, that different degrees of convexity, suited different persons. It is certain that spectacles were well known in the 13th century, and not long before.... It would certainly have been a great satisfaction to us to have been able to trace the actual steps in the progress of this most useful invention, without which most persons who have a taste for reading must have had the melancholy prospect of passing a very dull and joyless old age; and must have been deprived of the pleasure of entertaining themselves by conversing with the absent and the dead, when they were no longer capable of acting their part among the living. Telescopes and microscopes are to be numbered among the superfluities of life when compared to spectacles, which may now be ranked almost among the necessities of it; since the arts of reading and writing are almost universal.

Describing his first deliberate ingestion of LSD on the 19th of April 1943, in Ch. 1 : How LSD Originated http://www.psychedelic-library.org/child1.htm
LSD : My Problem Child (1980)
Context: 4/19/43 16:20: 0.5 cc of 1/2 promil aqueous solution of diethylamide tartrate orally = 0.25 mg tartrate. Taken diluted with about 10 cc water. Tasteless.
17:00: Beginning dizziness, feeling of anxiety, visual distortions, symptoms of paralysis, desire to laugh.
Supplement of 4/21: Home by bicycle. From 18:00- ca.20:00 most severe crisis. (See special report.)
Here the notes in my laboratory journal cease. I was able to write the last words only with great effort. By now it was already clear to me that LSD had been the cause of the remarkable experience of the previous Friday, for the altered perceptions were of the same type as before, only much more intense. I had to struggle to speak intelligibly. I asked my laboratory assistant, who was informed of the self-experiment, to escort me home. We went by bicycle, no automobile being available because of wartime restrictions on their use. On the way home, my condition began to assume threatening forms. Everything in my field of vision wavered and was distorted as if seen in a curved mirror. I also had the sensation of being unable to move from the spot. Nevertheless, my assistant later told me that we had traveled very rapidly. Finally, we arrived at home safe and sound, and I was just barely capable of asking my companion to summon our family doctor and request milk from the neighbors.
In spite of my delirious, bewildered condition, I had brief periods of clear and effective thinking — and chose milk as a nonspecific antidote for poisoning.

"Interludes" III, in From Darkness To Light : A Confession of Faith in the form of an Anthology (1956) edited by Victor Gollancz
Context: Writing, I crushed an insect with my nail
And thought nothing at all. A bit of wing
Caught my eye then, a gossamer so frail And exquisite, I saw in it a thing
That scorned the grossness of the thing I wrote.
It hung upon my finger like a sting.

The Letters of Samuel Beckett 1929–1940 (2009), p. 362
Context: I think the next little bit of excitement is flying. I hope I am not too old to take it up seriously, nor too stupid about machines to qualify as a commercial pilot. I do not feel like spending the rest of my life writing books that no one will read. It is not as though I wanted to write them.

Black Boy (1945)

Twenty-One Things You Don't Know About Me

On his experiences with academia, in a discussion thread https://www.lesswrong.com/posts/g94oAbSna8hpGJTSu/the-doomsday-argument-in-anthropic-decision-theory#2PPGdDqgtWCpqMmr9 on LessWrong, August 2017
Context: Here's my own horror story with academic publishing. I was an intern at an industry research lab, and came up with a relatively simple improvement to a widely used cryptographic primitive. I spent a month or two writing it up (along with relevant security arguments) as well as I could using academic language and conventions, etc., with the help of a mentor who worked there and who used to be a professor. Submitted to a top crypto conference and weeks later got back a rejection with comments indicating that all of the reviewers completely failed to understand the main idea. The comments were so short that I had no way to tell how to improve the paper and just got the impression that the reviewers weren't interested in the idea and made little effort to try to understand it. My mentor acted totally unsurprised and just said something like, "let's talk about where to submit it next." That's the end of the story because I decide if that's how academia works I wanted to have nothing to do with it when there's, from my perspective, an obviously better way to do things, i. e., writing up the idea informally, posting it to a mailing list and getting immediate useful feedback/discussions from people who actually understand and are interested in the idea.

Alan Moore on Anarchism (2009)
Context: I suppose any form of art can be said to be propaganda for a state of mind. Inevitably, if you are creating a painting, or writing a story, you are making propaganda, in a sense, for the way that you feel, the way that you think, the way that you see the world. You are trying to express your own view of reality and existence, and that is inevitably going to be a political action—especially if your view of existence is too far removed from the mainstream view of existence. Which is how an awful lot of writers have gotten into terrible trouble in the past.

Acceptance speech for the 1970 National Medal for Literature, New York, New York (2 December 1970)
Context: If, in the middle of World War II, a general could be writing a poem, then maybe I was not so irrelevant after all. Maybe the general was doing more for victory by writing a poem than he would be by commanding an army. At least, he might be doing less harm. By applying the same logic to my own condition, I decided that I might be relevant in what I called a negative way. I have clung to this concept ever since — negative relevance. In moments of vain-glory I even entertain the possibility that if my concept were more widely accepted, the world might be a better place to live in. There are a lot of people who would make better citizens if they were content to be just negatively relevant.

Abou Ben Adhem
Context: Abou Ben Adhem (may his tribe increase!)
Awoke one night from a deep dream of peace,
And saw, within the moonlight in his room,
Making it rich, and like a lily in bloom,
An Angel writing in a book of gold: Exceeding peace had made Ben Adhem bold,
And to the Presence in the room he said,
"What writest thou?" The Vision raised its head,
And with a look made of all sweet accord
Answered, "The names of those who love the Lord." "And is mine one?" said Abou. "Nay, not so,"
Replied the Angel. Abou spoke more low,
But cheerily still; and said, "I pray thee, then,
Write me as one who loves his fellow men." The Angel wrote, and vanished. The next night
It came again with a great wakening light,
And showed the names whom love of God had blessed,
And, lo! Ben Adhem's name led all the rest!

Language Education in a Knowledge Context (1980)
Context: It may come as a surprise to our technocrat philosophers, but people do not read, write, speak, or listen primarily for the purpose of achieving a test score. They use language in order to conduct their lives, and to control their lives, and to understand their lives. An improvement in one's language abilities is therefore... observed in changes in one's purposes, perceptions, and evaluations. Language education... may achieve what George Bernard Shaw asserted is the function of art. "Art," he said in Quintessence of Ibsenismn, "should refine our sense of character and conduct, of justice and sympathy, greatly heightening our self knowledge, self-control, precision of action and considerateness, and making us intolerant of baseness, cruelty, injustice, and intellectual superficialty and vulgarity." …For my purposes, if you replace the word "art" with the phrase "language education," you will have a precise statement of what I have been trying to say.

Source: The Reader Over Your Shoulder (1943), Ch. 3: "Where Is Good English to Be Found?"
Context: Where is good English to be found? Not among those who might be expected to write well professionally. Schoolmasters seldom write well: it is difficult for any teacher to avoid either pomposity or, in the effort not to be pompous, a jocular conversational looseness. The clergy suffer from much the same occupational disability: they can seldom decide whether to use "the language of the market-place" or Biblical rhetoric. Men of letters usually feel impelled to cultivate an individual style — less because they feel sure of themselves as individuals than because they wish to carve a niche for themselves in literature; and nowadays an individual style usually means merely a peculiar range of inaccuracies, ambiguities, logical weaknesses and stylistic extravagancies. Trained journalists use a flat, over-simplified style, based on a study of what sells a paper and what does not, which is inadequate for most literary purposes.

Epigraph, Ch. 1 : Mount Shasta; this appears as "To Mount Shasta" in In Classic Shades, and Other Poems (1890), p. 126
Variant: I saw the lightning's gleaming rod
Reach forth and write upon the sky
The awful autograph of God.
This variant was cited as being in The Ship in the Desert in the 10th edition of Familiar Quotations (1919) by John Bartlett, but this appears to be an incorrect citation of a misquotation first found in The Japanese Letters of Lafcadio Hearn (1910), edited by Elizabeth Bislande, p. 161.
Shadows of Shasta (1881)
Context: Where storm-born shadows hide and hunt
I knew thee, in thy glorious youth,
And loved thy vast face, white as truth;
I stood where thunderbolts were wont
To smite thy Titan-fashioned front,
And heard dark mountains rock and roll;
I saw the lightning's gleaming rod
Reach forth and write on heaven's scroll
The awful autograph of God!

As quoted in "Who knows?", The Guardian (26 October 2004)
Context: When someone just writes 'f**k, f**k, f**k', we just fix it, laugh and move on. But the difficult social issues are the borderline cases — people who do some good work, but who are also a pain in the neck.

A Narrative of Some of the Lord's Dealings with George Müller Written by Himself, First Part.
First Part of Narrative

"Verse Chronicle," The Nation (23 February 1946); reprinted as "Bad Poets" in Poetry and the Age (1953)
General sources
Context: Sometimes it is hard to criticize, one wants only to chronicle. The good and mediocre books come in from week to week, and I put them aside and read them and think of what to say; but the "worthless" books come in day after day, like the cries and truck sounds from the street, and there is nothing that anyone could think of that is good enough for them. In the bad type of thin pamphlets, in hand-set lines on imported paper, people's hard lives and hopeless ambitions have expressed themselves more directly and heartbreakingly than they have ever expressed in any work of art: it is as if the writers had sent you their ripped-out arms and legs, with "This is a poem" scrawled on them in lipstick. After a while one is embarrassed not so much for them as for poetry, which is for these poor poets one more of the openings against which everyone in the end beats his brains out; and one finds it unbearable that poetry should be so hard to write — a game of Pin the Tail on the Donkey in which there is for most of the players no tail, no donkey, not even a booby prize.

20 February 2005
Unfit for Mass Consumption (blog entries), 2005

Liquidation (2003)
Context: But I believe in writing — nothing else; just writing. Man may live like a worm, but he writes like a god. There was a time when that secret was known, but now it has been forgotten; the world is composed of disintegrating fragments, an incoherent dark chaos, sustained by writing alone. If you have a concept of the world, if you have not yet forgotten all that has happened, that you have a world at all, it is writing that has created that for you, and ceaselessly goes on creating it; Logos, the invisible spider’s thread that holds our lives together.

The Paris Review (Spring 1954) http://theparisreview.org/viewinterview.php/prmMID/5114 <!-- This has been appeared in a paraphrased version: Every writer since the beginning of time, just like other people, has been afflicted by what a friend of mine calls "the fleas of life" — you know, colds, hangovers, bills, sprained ankles and little nuisances of one sort or another. -->
Context: Writers ever since writing began have had problems, and the main problem narrows down to just one word — life. Certainly this might be an age of so-called faithlessness and despair we live in, but the new writers haven’t cornered any market on faithlessness and despair, any more than Dostoyevsky or Marlowe or Sophocles did. Every age has its terrible aches and pains, its peculiar new horrors, and every writer since the beginning of time, just like other people, has been afflicted by what that same friend of mine calls “the fleas of life”—you know, colds, hangovers, bills, sprained ankles, and little nuisances of one sort or another. They are the constants of life, at the core of life, along with nice little delights that come along every now and then.

New Principles of Linear Perspective (1715, 1749)

Letter to his brother Jeff from Guadalcanal (28 January 1943); p. 28
To Reach Eternity (1989)
Context: I'm going to ask you something. If I do get killed, and I honestly don't see how I can help it, I want you to write that book we were thinking about when I enlisted. If I get it, it's a cinch I won't be able to do it, and it would make me feel a whole lot better to know that if not my name and hand, at least, the thot of me would be passed on and not forgotten entirely. You know, sort of put into the book the promise that I had and the things I might have written so at least the knowledge of talent wasted won't be lost... If I get it, no one will ever know to what heights I might have gone as a writer. Maybe if you wrote about the promise that was there, all wouldn't be lost.

Interview at Achuka Children's Books
Context: I'm trying to write a book about what it means to be human, to grow up, to suffer and learn. My quarrel with much (not all) fantasy is it has this marvellous toolbox and does nothing with it except construct shoot-em-up games. Why shouldn't a work of fantasy be as truthful and profound about becoming an adult human being as the work of George Eliot or Jane Austen? Well, there are a few fantasies that are. One of them is Paradise Lost.

Orthodoxy (1884)
Context: This century will be called Darwin’s century. He was one of the greatest men who ever touched this globe. He has explained more of the phenomena of life than all of the religious teachers. Write the name of Charles Darwin on the one hand and the name of every theologian who ever lived on the other, and from that name has come more light to the world than from all of those.

The Enormous Room (1922)

Interview in Only Angels Have Wings (April 2004) http://onlyangels.free.fr/interviews/d/dresden_dolls.htm
Context: I write a lot, but it's not all fantastic. There's plenty of terrible crap. We work on a few things at a time, let some things fall away, make changes. We certainly have enough for the next album, which could take at least another year to come out.

Source: The Time Axis (1949), Ch. 1 : Encounter In Rio (opening words)
Context: The whole thing never happened and I can prove it — now. But Ira De Kalb made me wait a billion years to write the story.
So we start with a paradox. But the strangest thing of all is that there are no real paradoxes involved, not one. This is a record of logic. Not human logic, of course, not the logic of this time or this space.

Book II, ch. 18.
Discourses

As quoted in Instructor, Vol. 103 (1992), p. 201

LIFE magazine (8 March 1929)
Context: Nine-tenths of the value of a sense of humor in writing is not in the things it makes one write but in the things it keeps one from writing. It is especially valuable in this respect in serious writing, and no one without a sense of humor should ever write seriously. For without knowing what is funny, one is constantly in danger of being funny without knowing it.

Speech at the Nobel Banquet (1991)
Context: I certainly find being the recipient at this celebratory dinner more pleasurable and rewarding than chicken-pox, having now in my life experienced both. But the small girl was not entirely wrong. Writing is indeed, some kind of affliction in its demands as the most solitary and introspective of occupations.

Brown : The Last Discovery of America (2003), p. xi

The Paris Review interview (1982)
Context: You know C. S. Lewis, whom I greatly admire, said there’s no such thing as creative writing. I’ve always agreed with that and always refuse to teach it when given the opportunity. He said there is, in fact, only one Creator and we mix. That’s our function, to mix the elements He has given us. See how wonderfully anonymous that leaves us? You can’t say, “I did this; this gross matrix of flesh and blood and sinews and nerves did this.” What nonsense! I’m given these things to make a pattern out of. Something gave it to me.
I’ve always loved the idea of the craftsman, the anonymous man. For instance, I’ve always wanted my books to be called the work of Anon, because Anon is my favorite literary character. If you look through an anthology of poems that go from the far past into the present time, you’ll see that all the poems signed “Anon” have a very specific flavor that is one flavor all the way through the centuries. I think, perhaps arrogantly, of myself as “Anon.” I would like to think that Mary Poppins and the other books could be called back to make that change. But I suppose it’s too late for that.

"The Mutabilities of Literature".
The Sketch Book of Geoffrey Crayon (1819–1820)
Context: Language gradually varies, and with it fade away the writings of authors who have flourished their allotted time; otherwise, the creative powers of genius would overstock the world, and the mind would be completely bewildered in the endless mazes of literature. Formerly there were some restraints on this excessive multiplication. Works had to be transcribed by hand, which was a slow and laborious operation; they were written either on parchment, which was expensive, so that one work was often erased to make way for another; or on papyrus, which was fragile and extremely perishable. Authorship was a limited and unprofitable craft, pursued chiefly by monks in the leisure and solitude of their cloisters. The accumulation of manuscripts was slow and costly, and confined almost entirely to monasteries. To these circumstances it may, in some measure, be owing that we have not been inundated by the intellect of antiquity; that the fountains of thought have not been broken up, and modern genius drowned in the deluge. But the inventions of paper and the press have put an end to all these restraints. They have made everyone a writer, and enabled every mind to pour itself into print, and diffuse itself over the whole intellectual world. The consequences are alarming. The stream of literature has swollen into a torrent — augmented into a river — expanded into a sea.

Quote from Prospectus aux amateurs de tout genre, Jean Dubuffet; Paris: Gallimard, 1946; translated in: Mildred Glimcher, ed., Jean Dubuffet: Towards an Alternative Reality; New York: Abbeville Press 1987; as cited in 'Dubuffet, Lévi-Strauss, and the Idea of Art Brut', Kent Minturn http://www.columbia.edu/cu/arthistory/faculty/Minturn/Dubuffet-Levi-Strauss.pdf, from RES: Anthropology and Aesthetics, No. 46, Polemical Objects (Autumn, 2004), p. 250
Dubuffet is describing the (contemporary) for him of the footprints of the Bedouins.
1940's

Black Boy (1945)

"Episode, Scene, Speech, and Word : The Madness of Lear" http://www.press.uchicago.edu/books/maclean/nmr_lear.html, in Critics and Criticism : Ancient and Modern (1952), edited by R.S. Crane
Context: At a high level of universality, to write anything well, whether it be intellectual or imaginative, is to assume at least two obligations: to be intelligible and to be interesting. Intelligibility, too, has its levels of obligation, on the lowest of individual statements, and even on this level the obligation is never easy to fulfill and perhaps even to genius could be a nightmare if what the genius sought to represent was “madness.” Only to a limited degree, however, can individual statements be intelligible — and in many instances and for a variety of reasons the individual statements are meant to be obscure, as in “mad” speeches. Since full intelligibility depends upon the relations of individual statement to individual statement, the concept of intelligibility, fully expanded, includes order and completeness; for a fully intelligible exposition or poem having relations has parts, and all the parts ought to be there and add up to a whole. The second major obligation, that of being “interesting,” includes unexpectedness and suspense, for expository as well as imaginative writing should not be merely what the reader expected it would be — or why should it be written or read? — and the unexpected should not be immediately and totally announced (in other words, expository and imaginative writing should have suspense), for, if the whole is immediately known, why should the writer or reader proceed farther?
But the accomplished writer gives his selected material more than shape — he gives it proper size. For a piece of writing to have its proper size is an excellent thing, or otherwise it would be lacking in intelligibility or interest or both.

Black Boy (1945)

It's Down the Slippery Cellar Stairs (1995)

Winter, 1931-1932 The Diary of Anaïs Nin , Volume One 1931-1934 <!-- p. 11 -->
Diary entries (1914 - 1974)
Context: I had always believed in Andre Breton's freedom, to write as one thinks, in the order and disorder in which one feels in thinks, to follow sensations and absurd correlations of events and images, to trust to the new realms they lead one into. "The cult of the marvelous." Also the cult of the unconscious leadership, the cult of mystery, the evasion of false logic. The cult of the unconscious as proclaimed by Rimbaud. It is not madness. It is an effort to transcend the rigidities and the patterns made by the rational mind.

The Paris Review interview
Context: I see now that when we met, my writing, like hers, left its old path and started to circle and search. To me, of course, she was not only herself — she was America and American literature in person. I don’t know what I was to her. Apart from the more monumental classics — Tolstoy, Dostoyevsky, and so on — my background reading was utterly different from hers. But our minds soon became two parts of one operation. We dreamed a lot of shared or complementary dreams. Our telepathy was intrusive. I don’t know whether our verse exchanged much, if we influenced one another that way — not in the early days. Maybe others see that differently. Our methods were not the same. Hers was to collect a heap of vivid objects and good words and make a pattern; the pattern would be projected from somewhere deep inside, from her very distinctly evolved myth. It appears distinctly evolved to a reader now — despite having been totally unconscious to her then. My method was to find a thread end and draw the rest out of a hidden tangle. Her method was more painterly, mine more narrative, perhaps.

QRO Magazine interview (2007)
Context: I'm a debut artist, I'm not established — nobody would write about it if they didn't like it. So I'm waiting for the next album for the backlash.