Quotes about writing

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As quoted in Setting the Tempo : Fifty Years of Great Jazz Liner Notes (1996) by Tom Piazza. p. 339
Context: What do you think happens to a composer who is sincere and loves to write and has to wait thirty years to have someone play a piece of his music? Had I been born in a different country or had I been born white, I am sure I would have expressed my ideas long ago. Maybe they wouldn't have been as good because when people are born free — I can't imagine it, but I've got a feeling that if it's so easy for you — the struggle and the initiative are not as strong as they are for a person who has to struggle and therefore has more to say.

As quoted in Conversations with Edward Albee (1988) by Philip C. Kolin, p. 176
Context: I have been both overpraised and underpraised. I assume by the time I finish writing — and I plan to go on writing until I'm 90 or gaga — it will all equal itself out... You can't involve yourself with the vicissitudes of fashion or critical response. I'm fairly confident that my work is going to be around for a while. I am pleased and reassured by the fact that a lot of younger playwrights seem to pay me some attention and gain some nourishment from what I do.

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 624
Context: Even the best critical writing on Emily Dickinson underestimates her. She is frightening. To come to her directly from Dante, Spenser, Blake, and Baudelaire is to find her sadomasochism obvious and flagrant. Birds, bees, and amputated hands are the dizzy stuff of this poetry. Dickinson is like the homosexual cultist draping himself in black leather and chains to bring the idea of masculinity into aggressive visibility.

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.

Autobiography (1873)
Context: I have already mentioned Carlyle's earlier writings as one of the channels through which I received the influences which enlarged my early narrow creed; but I do not think that those writings, by themselves, would ever have had any effect on my opinions. What truths they contained, though of the very kind which I was already receiving from other quarters, were presented in a form and vesture less suited than any other to give them access to a mind trained as mine had been. They seemed a haze of poetry and German metaphysics, in which almost the only clear thing was a strong animosity to most of the opinions which were the basis of my mode of thought; religious scepticism, utilitarianism, the doctrine of circumstances, and the attaching any importance to democracy, logic, or political economy. Instead of my having been taught anything, in the first instance, by Carlyle, it was only in proportion as I came to see the same truths through media more suited to my mental constitution, that I recognized them in his writings. Then, indeed, the wonderful power with which he put them forth made a deep impression upon me, and I was during a long period one of his most fervent admirers; but the good his writings did me, was not as philosophy to instruct, but as poetry to animate. Even at the time when out acquaintance commenced, I was not sufficiently advanced in my new modes of thought, to appreciate him fully; a proof of which is, that on his showing me the manuscript of Sartor Resartus, his best and greatest work, which he had just then finished, I made little of it; though when it came out about two years afterwards in Fraser's Magazine I read it with enthusiastic admiration and the keenest delight. I did not seek and cultivate Carlyle less on account of the fundamental differences in our philosophy. He soon found out that I was not "another mystic," and when for the sake of my own integrity I wrote to him a distinct profession of all those of my opinions which I knew he most disliked, he replied that the chief difference between us was that I "was as yet consciously nothing of a mystic." I do not know at what period he gave up the expectation that I was destined to become one; but though both his and my opinions underwent in subsequent years considerable changes, we never approached much nearer to each other's modes of thought than we were in the first years of our acquaintance. I did not, however, deem myself a competent judge of Carlyle. I felt that he was a poet, and that I was not; that he was a man of intuition, which I was not; and that as such, he not only saw many things long before me, which I could only when they were pointed out to me, hobble after and prove, but that it was highly probable he could see many things which were not visible to me even after they were pointed out. I knew that I could not see round him, and could never be certain that I saw over him; and I never presumed to judge him with any definiteness, until he was interpreted to me by one greatly the superior of us both -- who was more a poet than he, and more a thinker than I -- whose own mind and nature included his, and infinitely more.

Letter to Edward Dickens (26 September 1868), published in The Selected Letters of Charles Dickens http://books.google.com.br/books?id=NJH1g1i4gnIC&printsec=frontcover&hl=pt-BR#v=onepage&q&f=false, Edited by Jenny Hartley
Context: I put a New Testament among your books, for the very same reasons, and with the very same hopes that made me write an easy account of it for you, when you were a little child; because it is the best book that ever was or will be known in the world, and because it teaches you the best lessons by which any human creature who tries to be truthful and faithful to duty can possibly be guided. As your brothers have gone away, one by one, I have written to each such words as I am now writing to you, and have entreated them all to guide themselves by this book, putting aside the interpretations and inventions of men.

Writing and Being (1991)
Context: I have said that nothing factual that I write or say will be as truthful as my fiction. The life, the opinions, are not the work, for it is in the tension between standing apart and being involved that the imagination transforms both. Let me give some minimal account of myself. I am what I suppose would be called a natural writer. I did not make any decision to become one. I did not, at the beginning, expect to earn a living by being read. I wrote as a child out of the joy of apprehending life through my senses — the look and scent and feel of things; and soon out of the emotions that puzzled me or raged within me and which took form, found some enlightenment, solace and delight, shaped in the written word.

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.

Kathy Acker: Where does she get off?
Context: I think writing is basically about time and rhythm. Like with jazz. You have your basic melody and then you just riff off of it. And the riffs are about timing. And about sex.
Writing for me is about my freedom. When I was a kid, my parents were like monsters to me, and the world extended from them. They were horrible. And I was this good little girl — I didn't have the guts to oppose them. They told me what to do and how to be. So the only time I could have any freedom or joy was when I was alone in my room. Writing is what I did when I was alone with no one watching me or telling me what to do. I could do whatever I wanted. So writing was really associated with body pleasure — it was the same thing. It was like the only thing I had.

The Environmental Revolution: Speeches on Conservation, 1962–77 (1978)
Context: It is frequently more rewarding merely to ask pertinent questions. It may get someone to go and look for an answer. If you get a silly answer, which can easily happen, you can return to the charge with even more telling effect. Whatever happens, don't give up and don't despair. Results may not be immediately apparent, but you may have touched a receptive chord without knowing it. Even the most unsympathetic and unenlightened politician, industrialist or bureaucrat begins to take notice when a lot of people write about the same subject.

Crucible of Creativity (2005)
Context: Anonymity relieves refactoring friction. Have learned that people want to sign things. But try to write in a way where you don’t have to know who said it. But when someone who is not in a giving mood uses anonymity (spammers), that abuse can drive us away from anonymity. But I hope we can drive the ill-intended out without having to give up the openness.

"For the Defense Written for the Associated Press, for use in my obituary" (20 November 1940)
1940s–present
Context: Having lived all my life in a country swarming with messiahs, I have been mistaken, perhaps quite naturally, for one myself, especially by the others. It would be hard to imagine anything more preposterous. I am, in fact, the complete anti-Messiah, and detest converts almost as much as I detest missionaries. My writings, such as they are, have had only one purpose: to attain for H. L. Mencken that feeling of tension relieved and function achieved which a cow enjoys on giving milk. Further than that, I have had no interest in the matter whatsoever. It has never given me any satisfaction to encounter one who said my notions had pleased him. My preference has always been for people with notions of their own. I have believed all my life in free thought and free speech—up to and including the utmost limits of the endurable.

A Treatise on Isoperimetrical Problems, and the Calculus of Variations (1810)
Context: The Authors who write near the beginnings of science, are, in general the most instructive: they take the reader more along with them, shew him the real difficulties, and, which is a main point, teach him the subject, the way by which they themselves learned it.<!--Preface p. v-iv

A Week on the Concord and Merrimack Rivers http://www.gutenberg.org/dirs/etext03/7cncd10.txt (1849), Sunday
Context: It would be worthy of the age to print together the collected Scriptures or Sacred Writings of the several nations, the Chinese, the Hindus, the Persians, the Hebrews, and others, as the Scripture of mankind. The New Testament is still, perhaps, too much on the lips and in the hearts of men to be called a Scripture in this sense. Such a juxtaposition and comparison might help to liberalize the faith of men. This is a work which Time will surely edit, reserved to crown the labors of the printing-press. This would be the Bible, or Book of Books, which let the missionaries carry to the uttermost parts of the earth.

As quoted in Claude Debussy: His Life and Works (1933) by Léon Vallas, p. 226
Context: I wish to write down my musical dreams in a spirit of utter self-detachment. I wish to sing of my interior visions with the naïve candour of a child. No doubt, this simple musical grammar will jar on some people. It is bound to offend the partisans of deceit and artifice. I foresee that and rejoice at it. I shall do nothing to create adversaries, but neither shall I do anything to turn enmities into friendships. I must endeavour to be a great artist so that I may dare to be myself and suffer for my faith. Those who feel as I do will only appreciate me more. The others will shun and hate me. I shall make no effort to appease them. On that distant day — I trust it is still very far off — when I shall no longer be a cause of strife, I shall feel bitter self-reproach. For that odious hypocrisy which enables one to please all mankind will inevitably have prevailed in those last works.

Dreams on Spec (2007)
Context: Writing is all about the preservation of your own voice. So if you give that voice away by guessing what you think and you think and you think as you go, you’ll have less to say and then it’ll go away completely!

SALON Interview (1995)
Context: Other Asian-American writers just shudder when they are compared to me; it really denigrates the uniqueness of their own work. I find it happening less here partly because people are more aware now of the flaws of political correctness — that literature has to do something to educate people. I don't see myself, for example, writing about cultural dichotomies, but about human connections. All of us go through angst and identity crises. And even when you write in a specific context, you still tap into that subtext of emotions that we all feel about love and hope, and mothers and obligations and responsibilities.

Girl, Interrupted (1994)
Context: It’s important to cultivate detachment. One way to do this is to practice imagining yourself dead, or in the process of dying. If there’s a window, you must imagine your body falling out the window. If there’s a knife, you must imagine the knife piercing your skin. If there’s a train coming, you must imagine your torso flattened under its wheels. These exercises are necessary to achieving the proper distance. The motive is paramount. Without a strong motive, you’re sunk. My motives were weak: an American-history paper I didn’t want to write and the question I’d asked months earlier, Why not kill myself? Dead, I wouldn’t have to write the paper. Nor would I have to keep debating the question.

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.

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.

Source: Refactoring: Improving the Design of Existing Code, 1999, p. 88

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 22. How I Then Tried to Diffuse the Theory of Three Dimensions by Other Means, and of the Result
Context: I devoted several months in privacy to the composition of a treatise on the mysteries of Three Dimensions. Only, with the view of evading the Law, if possible, I spoke not of a physical Dimension, but of a Thoughtland whence, in theory, a Figure could look down upon Flatland and see simultaneously the insides of all things, and where it was possible that there might be supposed to exist a Figure environed, as it were, with six Squares, and containing eight terminal Points. But in writing this book I found myself sadly hampered by the impossibility of drawing such diagrams as were necessary for my purpose... my life was under a cloud. All pleasures palled upon me; all sights tantalized and tempted me to outspoken treason, because I could not but compare what I saw in Two Dimensions with what it really was if seen in Three, and could hardly refrain from making my comparisons aloud.' I neglected my clients and my own business to give myself to the contemplation of the mysteries which I had once beheld, yet which I could impart to no one, and found daily more difficult to reproduce even before my own mental vision.

Autobiographical sketch (23 July 1920), published in Portrait of a Marriage : Vita Sackville-West and Harold Nicolson (1998), p. 3
Context: Of course I have no right whatsoever to write down the truth about my life involving as it naturally does the lives of so many other people, but I do so urged by a necessity of truth-telling, because there is no living soul who knows the complete truth; here, may be one who knows a section; and there, one who knows another section: but to the whole picture not one is initiated.

1970s-, The Captains, the Kings, and Taylor Caldwell (1978)
Context: About half of my published novels were written before I was published. So I didn’t write a book every two years, as some people think.
Writing — I exist only for that. It’s the most important thing in my life. It’s not apart from me. I have no other interests, except cooking. I don’t belong to any organizations, clubs — I don’t go to lunches. This is my life, the most important thing — far more important than anything else I do. It has to be that way, otherwise you’re just a hobbyist.
Now, a painter needs only to know the technique of his painting, and he has to have a tremendous emotional response to it. Musicians, sculptors — the same way. But they don’t have to know about everything. A writer does.<!--
He has to do a tremendous amount of reading, too. I’d rather go without food, sleep, even cigarettes, than go without books. I read at least three of four books a week, plus all kinds of publications, some very weird. I like to know what’s going on, what people think. I read the far left, the far right, and in between, to see what people are doing and saying.

Address at Bennington College (30 October 1984) as published in "Reflections of a Writer: Long Work, Short Life" in The New York Times (20 March 1988)
Context: I have written almost all my life. My writing has drawn, out of a reluctant soul, a measure of astonishment at the nature of life. And the more I wrote well, the better I felt I had to write.
In writing I had to say what had happened to me, yet present it as though it had been magically revealed. I began to write seriously when I had taught myself the discipline necessary to achieve what I wanted. When I touched that time, my words announced themselves to me. I have given my life to writing without regret, except when I consider what in my work I might have done better. I wanted my writing to be as good as it must be, and on the whole I think it is. I would write a book, or a short story, at least three times — once to understand it, the second time to improve the prose, and a third to compel it to say what it still must say.
Somewhere I put it this way: first drafts are for learning what one's fiction wants him to say. Revision works with that knowledge to enlarge and enhance an idea, to re-form it. Revision is one of the exquisite pleasures of writing: The men and things of today are wont to lie fairer and truer in tomorrow's meadow, Henry Thoreau said.
I don't regret the years I put into my work. Perhaps I regret the fact that I was not two men, one who could live a full life apart from writing; and one who lived in art, exploring all he had to experience and know how to make his work right; yet not regretting that he had put his life into the art of perfecting the work.

Letter to Henry Lee (10 August 1824)
1820s
Context: Men by their constitutions are naturally divided into two parties: 1. Those who fear and distrust the people, and wish to draw all powers from them into the hands of the higher classes. 2. Those who identify themselves with the people, have confidence in them, cherish and consider them as the most honest and safe, although not the most wise depositary of the public interests. In every country these two parties exist, and in every one where they are free to think, speak, and write, they will declare themselves. Call them, therefore, liberals and serviles, Jacobins and Ultras, whigs and tories, republicans and federalists, aristocrats and democrats, or by whatever name you please, they are the same parties still and pursue the same object. The last appellation of aristocrats and democrats is the true one expressing the essence of all.

SALON Interview (1995)
Context: I've long thought about how life is influenced by death, how it influences what you believe in and what you look for. Yes, I think I was pushed in a way to write this book by certain spirits — the yin people — in my life. They've always been there, I wouldn't say to help, but to kick me in the ass to write.... Yin people is the term Kwan uses, because "ghosts" is politically incorrect. People have such terrible assumptions about ghosts — you know, phantoms that haunt you, that make you scared, that turn the house upside down. Yin people are not in our living presence but are around, and kind of guide you to insights. Like in Las Vegas when the bells go off, telling you you've hit the jackpot. Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule.... To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.

(29 November 2001)
Unfit for Mass Consumption (blog entries), 2001
Context: I was thinking, earlier, how there's this stigma attached to "writing for money" and how odd that is, as though writing is akin to sex (another "creative" act?) and writing for money is akin to prostitution in the minds of so many people. Whoring with adjectives, so to speak. Do I give good prose? Look up the definition of "hack." So, there must be the perception that writing, like the priesthood, comes with some higher purpose in tow. Getting paid well somehow sullies the purer cause. I've heard writers dismiss something or another that they've written by explaining, "Oh, yes, I know that sucked, but I only wrote it because they paid me so much money." And then we might even forgive them a piece of crap, because we have a sensible explanation. That wasn't a real orgasm. I was only faking the plot. Dorothy Parker and F. Scott Fitzgerald and William Faulkner in Hollywood.

"Answer #3" at his official website. http://www.chickcorea.com/from_chick.html
Context: I believe that any "awareness" of life is "spiritual" since awareness can only be a quality of the spirit not of the material world or of matter and machines. Only a spiritual being has awareness. But if you mean "spiritual" in the sense of a kind of "celebration of Life", then yes, I write music to celebrate life. I think most artists do, no matter how they themselves describe it. It's the joy of creating. It's a way of life.

A Voice from the Attic (1960)
Context: I feel that what is wrong with scores of modern novels which show literary quality, but which are repellent and depressing to the spirit is not that the writers have rejected a morality, but that they have one which is unexamined, trivial, and lopsided. They have a base concept of life; they bring immense gusto to their portrayals of what is perverse, shabby, and sordid, but they have no clear notion of what is Evil; the idea of Good is unattractive to them, and when they have to deal with it, they do so in terms of the sentimental or the merely pathetic. Briefly, some of them write very well, but they write from base minds that have been unimproved by thought or instruction. They feel, but they do not think. And the readers to whom they appeal are the products of our modern universal literacy, whose feeling is confused and muddled by just such reading, and who have been deluded that their mental processes are indeed a kind of thought.

1940s, To Every Briton (1940)
Context: May God give power to every word of mine. In his name I began to write this, and in His name I close it. May your statesman have the wisdom and courage to respond to my appeal. I am telling His Excellency the Viceroy that my services are at the disposal of His Majesty’s Government, should they consider them of any practical use in advancing the object of my appeal.

1940s, To Every Briton (1940)
Context: This war has descended upon mankind as a curse and a warning. It is a curse inasmuch as it is brutalizing man on a scale hitherto unknown. All distinctions between combatants and noncombatants have been abolished. No one and nothing is to be spared. Lying has been reduced to an art. Britain was to defend small nationalities. One by one they have vanished, at least for the time being. It is also a warning. It is a warning that, if nobody reads the writing on the wall, man will be reduced to the state of the beast, whom he is shaming by his manners. I read the writing when the hostilities broke out. But I had not the courage to say the word. God has given me the courage to say it before it is too late.

Variant translation:
With gaudy words their lines are formed
And further adorned by novel and curious phrases.
Yet if they fail to express what is in their own minds
What is the use, no matter
How many poems they compose!
"Zen Poetics of Ryokan" in Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry (Summer 2006)
Dewdrops on a Lotus Leaf : Zen Poems of Ryokan (1993)

Bk. 2, Ch. 11
Quoted, Tender is the Night (1934)
Context: One writes of scars healed, a loose parallel to the pathology of the skin, but there is no such thing in the life of an individual. There open wounds, shrunk sometimes to the size of a pinprick, but wounds still. The marks of suffering are more comparable to the loss of a finger, or of the sight of an eye. We may not miss them, either, for one minute in a year, but if we should there is nothing to be done about it.

Historian John Henrik Clarke

Paris Review interview (1996)
Context: Unless I have something already moving through the mind, I don’t go to the typewriter at all. The world has so many poems in it, it has never seemed to me very smart to force one more upon the world. If there isn’t one there to write, you just leave it alone.

"The Individual in the Animal Kingdom" (1912); quoted in From Gaia to Selfish Genes: Selected Writings in the Life Sciences (1992) by Connie Barlow, Ch. 6 "Blurred Bounds of Individuality" <!-- Barlow in quoting Huxley also notes that modern science has revealed that clone-propagating blueberries in an Appalachian mountaintop and Aspens of the Rockies may have root-stocks ten or fifteen thousand years old. -->
Context: In the actual duration of his life, the individual ranges from the bacterium's hour to the the big tree's five thousand years. Man in this again stands at the pinnacle of individuality — not in mere length of days, but in having found a means to perpetuate a part of himself in spite of death.
By speech first, but far more by writing, man has been able to put something of himself beyond death. In tradition and in books an integral part of the individual persists, for it can influence the minds and actions of other people in different places and at different times: a row of black marks on a page can move a man to tears, though the bones of him that wrote it are long ago crumbled to dust. In truth, the whole progress of civilization is based upon this power. Once more the upward progress of terrestrial life towards individuality has found apparently insurmountable obstacles, gross material difficulties before it, but once more through consciousness it finds wings, and, laughing at matter, flies over lightly where it could not climb.
To such an individuality, one that can thus transcend the limits of its substance, the name Personality is commonly given. Man alone possesses true personality, though there is as it were an aspiration towards it visible among the higher vertebrates, stirring their placid automatism with airs of consciousness.

1880s, Reminiscences (1881)

At the induction ceremony of The Beach Boys into the Rock and Roll Hall of Fame (January 1988)
Context: I wanted to write joyful music that made other people feel good. That’s what I tried to do for the past 27 years.

Republican Party Reptile (1987)

Detail
The Note-Books of Samuel Butler (1912), Part IX - A Painter's Views on Painting
Context: One reason why it is as well not to give very much detail is that, no matter how much is given, the eye will always want more; it will know very well that it is not being paid in full. On the other hand, no matter how little one gives, the eye will generally compromise by wanting only a little more. In either case the eye will want more, so one may as well stop sooner or later. Sensible painting, like sensible law, sensible writing, or sensible anything else, consists as much in knowing what to omit as what to insist upon.

Basin and Range (1981), reprinted in Annals of the Former World (2000)
Context: When the climbers in 1953 planted their flags on the highest mountain, they set them in snow over the skeletons of creatures that had lived in the warm clear ocean that India, moving north, blanked out. Possibly as much as twenty thousand feet below the seafloor, the skeletal remains had formed into rock. This one fact is a treatise in itself on the movements of the surface of the earth. If by some fiat I had to restrict all this writing to one sentence, this is the one I would choose: The summit of Mt. Everest is marine limestone.

Black Boy (1945)

Advice to Red Grange as quoted in The Wicked City: Chicago from Kenna to Capone (1998) by Curt Johnson and R. Craig Sautter, p. 159; Unsourced variant: Don't ever forget two things I'm going to tell you. One, don't believe everything that's written about you. Two, don't pick up too many checks.
Context: Keed, I'll give you a little bit of advice. Don't believe anything they write about you, good or bad. Two, get the dough while the getting is good, but don't break your heart trying to get it. And don't pick up too many checks!

The Rickover Effect (1992)
Context: Nothing so sharpens the thought process as writing down one's arguments. Weaknesses overlooked in oral discussion become painfully obvious on the written page.

"A Sort of a Song"
The Wedge (1944)
Context: Let the snake wait under
his weed
and the writing
be of words, slow and quick, sharp
to strike, quiet to wait,
sleepless.
— through metaphor to reconcile
the people and the stones.
Compose. (No ideas
but in things) Invent!
Saxifrage is my flower that splits
the rocks.

Interview with Don Swaim (1986)
Context: I write short stories. They may appear big in size, but when you consider it, they're four or five novels in one. … In return for picking up one of my books, I'm trying to give them value for their money. … the goal of writing any book is to create the illusion that what you are reading is reality and you're part of it.

(20 July 2007)
Unfit for Mass Consumption (blog entries), 2007
Context: Bad writing days are days when you mean to write and can't, or are interrupted so frequently that nothing gets done. I'm disheartened at how often I see the blogs of aspiring writers bemoaning how slowly a book or story is coming along. They have somehow gotten it in their heads that writing is a thing done quickly, efficiently, like an assembly line with lots of shiny robotic workers. The truth, of course, is that writing is usually slow, and inefficient, and more like trying to find a cube of brown Jello that someone's carelessly dropped into a pig sty. Five hundred words in a day is good. So is a thousand. Or fifteen hundred. A good writing day is a day when one has written well, and the word counts be damned. Finishing is not the goal. Doing the job well is the goal. And I say that as someone with no means of financial support but her writing, as someone who is woefully underpaid for her writing, and as someone with so many deadlines breathing down her neck that she can no longer tell one breather from the other. Sometimes, I forget this, that daily word counts are irrelevant, that writing is not a race to the finish line. One need only write well if one wishes to be a writer. A day when one does not do her best merely so that more may be written, that's a bad writing day.

So I started my Love Class. I taught it free of salary and tuition just so students could have a forum to consider the truly essential things. I really didn't "teach" the class. I facilitated it — helping the students to discover their own magic.
A Magazine of People and Possibilities interview (1998)

First and only letter to his son Aleister Ataturk (May 1947), as quoted in Do What Thou Wilt : A Life of Aleister Crowley (2000) by Lawrence Sutin, p. 416.
Context: The best models of English writing are Shakespeare and the Old Testament, especially the book of Job, the Psalms, the Proverbs, Ecclesiastes, and the Song of Solomon. … In writing English the most important quality that you can acquire is style. It makes all the difference to anyone who reads what you write, whether you use the best phrases in the best way.

On Writing Poetry (1995)
Context: I no longer feel I'll be dead by thirty; now it's sixty. I suppose these deadlines we set for ourselves are really a way of saying we appreciate time, and want to use all of it. I'm still writing, I'm still writing poetry, I still can't explain why, and I'm still running out of time. Wordsworth was sort of right when he said, "Poets in their youth begin in gladness/ But thereof comes in the end despondency and madness." Except that sometimes poets skip the gladness and go straight to the despondency. Why is that? Part of it is the conditions under which poets work — giving all, receiving little in return from an age that by and large ignores them — and part of it is cultural expectation — "The lunatic, the lover and the poet," says Shakespeare, and notice which comes first. My own theory is that poetry is composed with the melancholy side of the brain, and that if you do nothing but, you may find yourself going slowly down a long dark tunnel with no exit. I have avoided this by being ambidextrous: I write novels too. But when I find myself writing poetry again, it always has the surprise of that first unexpected and anonymous gift.

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.

Grassé, Pierre Paul (1977); Evolution of living organisms: evidence for a new theory of transformation. Academic Press, p. 6
Evolution of living organisms: evidence for a new theory of transformation (1977)
Context: We have gone from Darwinism into neo-Darwinism, and, very recently, to ultra-Darwinism, which not only claims to be the sole custodian truth in regard to evolution, but to be evolution itself. Darwin himself did not display so much confidence when writing to one of his grandsons... Present-day ultra-Darwinism, which is so sure of itself, impresses incompletely informed biologists, misleads them, and inspires fallacious interpretations. The following is one of the numerous examples found in books today:
This text suggests that modern bacteria are evolving very quickly, thanks to their innumerable mutations. Now, this is not true. For millions, or even billions of years, bacteria have not transgressed the structural frame within which they have always fluctuated and still do.
It is a fact that microbiologists can see in their cultures species of bacteria oscillating around an intermediate form, but this does not mean that two phenomena, which are quite distinct, should be confused; the variation of the genetic code because of a DNA copy error and evolution. To vary and to evolve are two different things; this can never be sufficiently emphasized.

McIntyre v. Ohio Elections Commission (Majority opinion, 514 U.S. 334 (1995)

Iran: Unleashing Her Potential Through Freedom, Democracy and Human Rights http://www.rezapahlavi.org/details_article.php?article=465&page=1, Milton S. Eisenhower Symposium, Johns Hopkins University, Oct. 12, 2010.
Speeches, 2010

How to be Lovely‎ (2005)

Tavleen Singh, Fifth column: Cultural renewal Indian Express https://indianexpress.com/article/opinion/columns/fifth-column-cultural-renewal/99/ 2019

Flying Saucers Have Landed

"American Extreme" in Senses of Cinema http://sensesofcinema.com/2016/american-extreme/introduction-american-extreme/?fbclid=IwAR3RDbEMlJKfP_tUFAOt3apUoZ99oioJ5kFwJfPO3wBnu1PGC0Xmtpnf9pY (2016)

Source: Defeat Into Victory (1961), p. 184

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

p. 139 https://babel.hathitrust.org/cgi/pt?id=mdp.39015005727337;view=1up;seq=163
Myth, Magic, and Morals (1909)

"The Morning Post," October 27th, 1908, reviewing one of his books on aeronautics.

On an article by Quanta magazine(when asked: Is there one big question that has always guided you?) https://www.quantamagazine.org/michael-atiyahs-mathematical-dreams-20160303

On writing characters in “We Read To Challenge Ourselves: An Interview With Mariko Tamaki” https://comicsalliance.com/mariko-tamaki-pride-week-interview/ in Comics Alliance (2016 Jun 24)

On usually including queer characters in “Interview: Mariko Tamaki” https://www.geeksout.org/2018/06/20/interview-mariko-tamaki/ in Geeks Out (2018 Jun 20)

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)

Exclusive Interview: Composer Jason Graves Discusses Dead Space, F.E.A.R. 3 and Resistance: Burning Skies http://www.dreadcentral.com/news/33744/exclusive-interview-composer-jason-graves-discusses-dead-space-f-e-a-r-3-and-resistance-burning-skies (May 14, 2012)

On her novels being called misogynistic in “Gillian Flynn Isn’t Going to Write the Kind of Women You Want” https://www.vanityfair.com/hollywood/2018/06/gillian-flynn-isnt-going-to-write-the-kind-of-women-you-want in Vanity Fair (2018 Jun 28)

On how she formulates her characters in “An Interview with Tracy Chevalier” https://fictionwritersreview.com/interview/an-interview-with-tracy-chevalier/ in Fiction Writers Review (2019 Sep 23)

On how she compares short story writing to novel writing in “An Interview with Tracy Chevalier” https://fictionwritersreview.com/interview/an-interview-with-tracy-chevalier/ in Fiction Writers Review (2019 Sep 23)

On his writing preferences in “An Interview with Luis J. Rodriguez” https://www.epl.org/an-interview-with-luis-j-rodriguez-2/ (Evanston Public Library; 2011)

On balancing novel writing with her personal life in “Diana Gabaldon on Her ‘Outlander’ Writing Process & Knowing Sam Heughan Was Jamie” https://collider.com/diana-gabaldon-outlander-interview/ in Collider (2018 Aug 2)

On what inspired her to write a historical novel in “Caught Between Two Worlds – Diana Gabaldon Interview” https://www.scotsmagazine.com/articles/diana-gabaldon-outlander-inspiration/ in The Scots Magazine (2018 Mar 2)

ContraPoints, Feminism Did Not Destroy Atheism https://www.youtube.com/watch?v=klfH9QaEcqY (2016), The Darkness https://www.youtube.com/watch?v=qtj7LDYaufM (2019)

Friedrich Wilhelm Schelling, On the History of Modern Philosophy (1833) [Translated from the German by Andrew Bowie]
S - Z

Bradbury Talk Likely to Feature the Unexpected (1994)

Source: A Soldier's Story (1951), p. xii

Source: Reasons and Persons (1984), pp. 287-288

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

Source: On writing a comic versus a novel in “Marjorie Liu on the Road to Making Monstress” https://www.theatlantic.com/entertainment/archive/2017/09/marjorie-liu-monstress-interview/539394/ in The Atlantic (2017 Sep 14)

On how the favela has changed since his time in “THE SATURDAY PROFILE; Out of the Slums of Rio, an Author Finds Fame” https://www.nytimes.com/2003/04/26/world/the-saturday-profile-out-of-the-slums-of-rio-an-author-finds-fame.html in The New York Times (2003 Apr 26)

On the tropes that she employs often in “AN Interview with Elizabeth Acevedo” https://www.washingtonsquarereview.com/new-page-21 in Washington Square Review

Source: On how she aimed to preserve the spoken word feel for her book The Poet X in “Debut Author Elizabeth Acevedo on 'The Poet X'” https://www.publishersweekly.com/pw/by-topic/childrens/childrens-authors/article/76224-q-a-with-elizabeth-acevedo.html in Publishers Weekly (2018 Mar 6)

On the thematic constraints of Puerto Rican literature in “Luis Rafael Sánchez: Counterpoints" https://ufdc.ufl.edu/UF00096005/00024/14j (Sargasso, 1984)

Book I, satire i, lines 72-3, (transl. Rushton Fairclough, 1926)
Satires (c. 35 BC and 30 BC)