Quotes about writing

page 6

Preface to Lear (1972; London: Methuen, 1983) p. lvii

Open letter to Barrantes on the Noli, published in La Solidaridad (15 February 1890)

But — this little book must be true to its title.
Marginalia http://www.easylit.com/poe/comtext/prose/margin.shtml (November 1844)

‘Time and place: Quintin Jardine.’ From The Sunday Times article, September 20, 2009. Interviewed by Rachel Devine.

Source: Death in Venice (1912), Ch. 2, as translated by David Luke

City Aphorisms, Eighth Selection (1991)

Dickerson v. United States, 530 U.S. 428, 461 http://straylight.law.cornell.edu/supct/html/99-5525.ZD.html (2000) (dissenting).
2000s

Source: Culture and Value (1980), p. 31e

Klemens von Metternich, “Mein Politisches Testament”, Aus Metternich’s Nachgelassenen Papieren, 7.Bd, hrsg., R. Metternich-Winneburg (Wien: Wilhelm Braumüller, 1883, pp.633-642.

Pupils at Sais (1799)

To Leon Goldensohn (27 May 1946)
The Nuremberg Interviews (2004)

"The Doctrine of Free Will"
1930s, Has Religion Made Useful Contributions to Civilization? (1930)

Sample of Bradwardine devotional writing quoted by James Burnes, The Church of England Magazine under the superintendence of clergymen of the United Church of England and Ireland Vol. IV (January to June 1838)

2004, Democratic National Convention speech (July 2004)

Majlisi, Bihārul Anwār, vol.1, p. 202
Regarding Knowledge & Wisdom, General

As quoted in Epifanio de los Santos by Fernando Bernardo. Silent storms: inspiring lives of 101 great Filipinos. Anvil Publishing, Inc.(2000). p. 37–38.
ULOL

1850s, Letter to Joshua F. Speed (1855)

Stories for Children (1984)

Ibid.
The Education of the Stoic

Supreme Court Confirmation Hearings, (8/5/1986), transcript https://web.archive.org/web/20060213232846/http://a255.g.akamaitech.net/7/255/2422/22sep20051120/www.gpoaccess.gov/congress/senate/judiciary/sh99-1064/31-110.pdf at pp. 51-52).
1980s

15 March 1493
Journal of the First Voyage

Source: Interregional and international trade. (1933), p. 32; As cited in: Andrea Maneschi (1998) Comparative Advantage in International Trade: A Historical Perspective p. 124.

as quoted in an interview by Matthew Chalmers: [Model physicist, CERN Courier, 13 October 2017, http://cerncourier.com/cws/article/cern/70138]

Conversations with History interview (1999)

About

Source: Autobiography of Mark Twain, Volume 1 (2010), p. 120

written after 1908
in The Mad Poet's Diary, T 2734
1896 - 1930

20 June 1942
(1942 - 1944)

The Independent on Sunday June 24, 1990.

"Efe" report, in Arrecife de Lanzarote (Spain), "Saramago diz que escreve por não ter 'nada melhor para fazer'", published in Folha de São Paulo http://www1.folha.uol.com.br/folha/ilustrada/ult90u68178.shtml, 2007.

Ohlin in his memoirs, as cited in: Flam, Harry, and M. June. " The Young Ohlin on the Theory of Interregional and International Trade http://www.diva-portal.org/smash/get/diva2:328550/FULLTEXT01.pdf." Bertil Ohlin: A Centennial Celebration, 1899-1999 10 (2002): p. 175.
1970s

...eu já estava na vigésima parte do livro, triste, quando senti que o livro podia ser escrito. Percebi que só seria capaz de escrevê-lo se o fizesse como se contasse. Não passando para a escrita o chamado discurso oral, porque isso é impossível, mas introduzindo na escrita um me-canismo de aparente prolixidade, aparente desor-ganização do discurso. Digo aparente porque sei o trabalho que me deu fazer de conta que era tudo assim.
Interview in Idéias, no. 107 (15 October 1988), trans. Margaret Jull Costa.

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

"The Action Americans Need" in The Washington Post (5 February 2009), p. A17 http://www.washingtonpost.com/wp-dyn/content/article/2009/02/04/AR2009020403174.html
2009

Douglass North in "Orders of the Day" in Reason (November 1999) http://reason.com/archives/1999/11/01/orders-of-the-day, a review of The Great Disruption : Human Nature and the Reconstruction of Social Order (1999) by Francis Fukuyama

Discussion of the Chaconne in Bach's Partita for Violin #2. Litzman, Berthold (editor). "Letters of Clara Schumann and Johannes Brahms, 1853–1896". Hyperion Press, 1979, p. 16.

Letter to Lord Russell of Liverpool, February 18, 1959
1950s

The New York Times (9 Feb 1986)

Kenneth Williams Acid Drops (London: Orion, [1980] 1999) p. xvi.

Conversations with History interview (1999)
Context: Literature must be written from the periphery toward the center, and we can criticize the center. Our credo, our theme, or our imagination is that of the peripheral human being. The man who is in the center does not have anything to write. From the periphery, we can write the story of the human being and this story can express the humanity of the center, so when I say the word periphery, this is a most important creed of mine.

The Paris Review interview (1982)
Context: When I write it’s more a process of listening. I don’t pretend that there is some spirit standing beside me that tells me things. More and more I’ve become convinced that the great treasure to possess is the unknown. I’m going to write, I hope, a lot about that. It’s with my unknowing that I come to the myths. If I came to them knowing, I would have nothing to learn. But I bring my unknowing, which is a tangible thing, a clear space, something that’s been made room for out of the muddle of ordinary psychic stuff, an empty space.

21 June 1880
Cosima Wagner's Diaries (1978)
Context: Music has taken a bad turn; these young people have no idea how to write a melody, they just give us shavings, which they dress up to look like a lion's mane and shake at us... It's as if they avoid melodies, for fear of having perhaps stolen them from someone else.

Vol. I, Ch. 1: Introduction concerning the Compilers of the books of the Old Testament
Observations upon the Prophecies of Daniel, and the Apocalypse of St. John (1733)
Context: The authority of Emperors, Kings, and Princes, is human. The authority of Councils, Synods, Bishops, and Presbyters, is human. The authority of the Prophets is divine, and comprehends the sum of religion, reckoning Moses and the Apostles among the Prophets; and if an Angel from Heaven preach any other gospel, than what they have delivered, let him be accursed. Their writings contain covenant between God and his people, with instructions for keeping this covenant; instances of God’s judgments upon them that break it: and predictions of things to come. While the people of God keep the covenant they continue to be his people: when they break it they cease to be his people or church, and become the Synagogue of Satan, who say they are Jews and are not. And no power on earth is authorized to alter this covenant.
The predictions of things to come relate to the state of the Church in all ages: and amongst the old Prophets, Daniel is most distinct in order of time, and easiest to be understood: and therefore in those things which relate to the last times, he must be made the key to the rest.

"Points of Character", p. 37.
Faraday as a Discoverer (1868)
Context: A point highly illustrative of the character of Faraday now comes into view. He gave an account of his discovery of Magneto-electricity in a letter to his friend M. Hachette, of Paris, who communicated the letter to the Academy of Sciences. The letter was translated and published; and immediately afterwards two distinguished Italian philosophers took up the subject, made numerous experiments, and published their results before the complete memoirs of Faraday had met the public eye. This evidently irritated him. He reprinted the paper of the learned Italians in the Philosophical Magazine accompanied by sharp critical notes from himself. He also wrote a letter dated Dec. 1,1832, to Gay Lussac, who was then one of the editors of the Annales de Chimie in which he analysed the results of the Italian philosophers, pointing out their errors, and' defending himself from what he regarded as imputations on his character. The style of this letter is unexceptionable, for Faraday could not write otherwise than as a gentleman; but the letter shows that had he willed it he could have hit hard. We have heard much of Faraday's gentleness and sweetness and tenderness. It is all true, but it is very incomplete. You cannot resolve a powerful nature into these elements, and Faraday's character would have been less admirable than it was had it not embraced forces and tendencies to which the silky adjectives "gentle" and "tender" would by no means apply. Underneath his sweetness and gentleness was the heat of a volcano. He was a man of excitable and fiery nature; but through high self-discipline he had converted the fire into a central glow and motive power of life, instead of permitting it to waste itself in useless passion. "He that is slow to anger" saith the sage, "is greater than the mighty, and he that ruleth his own spirit than he that taketh a city." Faraday was not slow to anger, but he completely ruled his own spirit, and thus, though he took no cities, he captivated all hearts.

Preface To The Second Edition, p. 7.
The Theory of Political Economy (1871)
Context: In short, I do not write for mathematicians, nor as a mathematician, but as an economist wishing to convince other economists that their science can only be satisfactorily treated on an explicitly mathematical basis.

Interview with LA Times http://www.reagan.utexas.edu/archives/speeches/1986/62386e.htm (23 June 1986)
1980s, Second term of office (1985–1989)
Context: I have never given a litmus test to anyone that I have appointed to the bench.... I feel very strongly about those social issues, but I also place my confidence in the fact that the one thing that I do seek are judges that will interpret the law and not write the law. We've had too many examples in recent years of courts and judges legislating. They're not interpreting what the law says and whether someone has violated it or not. In too many instances, they have been actually legislating by legal decree what they think the law should be, and that I don't go for. And I think that the two men that we're just talking about here, Rehnquist and Scalia, are interpreters of the Constitution and the law.

1780s, The Newburgh Address (1783)
Context: There might, Gentlemen, be an impropriety in my taking notice, in this Address to you, of an anonymous production — but the manner in which that performance has been introduced to the Army — the effect it was intended to have, together with some other circumstances, will amply justify my observations on the tendency of that Writing. With respect to the advice given by the Author — to suspect the Man, who shall recommend moderate measures and longer forbearance — I spurn it — as every Man, who regards that liberty, & reveres that Justice for which we contend, undoubtedly must — for if Men are to be precluded from offering their sentiments on a matter, which may involve the most serious and alarming consequences, that can invite the consideration of Mankind; reason is of no use to us — the freedom of Speech may be taken away — and, dumb & silent we may be led, like sheep, to the Slaughter.

1984
Context: On inspiration: "Of course, inspiration can come in different ways, depending on what field you’re working in? When I’m writing music for a film, inspiration will come from the subject matter and visual images, because I don’t agree to any offers of film work unless I believe I can add another dimension to the film. But if l’m writing music purely for myself, inspiration comes naturally, from everything around. I absorb every experience in life, every situation, because anything can become a source of inspiration — positive or negative. In general l’m influenced more by everyday concepts — nature, the city and so forth — than by hearing other pieces of music. Neither do I find any special inspiration from working in a studio. Obviously it makes life a lot easier to have 24 tracks to record on, and I use the studio as a tool to help in the writing process. I see the mixing desk really as another instrument, the conductor for all the others. But although the tape recorder and the console are just as important as the keyboards, I haven’t equipped my studio with a lot of hi-tech effects: l’d rather spend time searching through my sound library to get the exact colour I want".

Debussy in a letter to his pupil Raoul Bardac (1906)
Context: Collect impressions. Don’t be in a hurry to write them down. Because that’s something music can do better than painting: it can centralise variations of colour and light within a single picture — a truth generally ignored, obvious as it is.

Saul Green in "The Golden Notebook"
The Golden Notebook (1962)

"Dagon" - Written Jul 1917; First published in The Vagrant, No. 11 (November 1919) <!-- p. 23-29. -->
Fiction
Context: I am writing this under an appreciable mental strain, since by tonight I shall be no more. Penniless, and at the end of my supply of the drug which alone makes life endurable, I can bear the torture no longer; and shall cast myself from this garret window into the squalid street below.

2015, Remarks to the People of Africa (July 2015)
Context: And when girls cannot go to school and grow up not knowing how to read or write -- that denies the world future women engineers, future women doctors, future women business owners, future women presidents -- that sets us all back. That's a bad tradition -- not providing our girls the same education as our sons. I was saying in Kenya, nobody would put out a football team and then just play half the team. You’d lose. The same is true when it comes to getting everybody and education. You can't leave half the team off -- our young women.

On Frédéric Chopin, in Oeuvres autobiographiques, edited by Georges Lubin, Vol. 2; Histoire de ma vie, p. 446. I [Jeffrey Kallberg] have modified somewhat the English translation printed in George Sand, Story of My Life: The Autobiography of George Sand, group translation ed. Thelma Jurgrau (Albany, 1991), p. 1109. The chapter on Chopin dates from August or September 1854.
Context: His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed. It was a series of efforts, indecision, and impatience to recapture certain details of the theme he had heard: what had come to him all of a piece, he now over-analyzed in his desire to write it down, and his regret at not finding it again "neat," as he said, would throw him into a kind of despair. He would shut himself up in his room for days at a time, weeping, pacing, breaking his pens, repeating and changing a single measure a hundred times, writing it and effacing it with equal frequency, and beginning again the next day with a meticulous and desperate perseverance. He would spend six weeks on one page, only to end up writing it just as he had traced it in his first outpouring.

Preface
Sylvie and Bruno (1889)
Context: I do not know if 'Alice in Wonderland' was an original story — I was, at least, no conscious imitator in writing it — but I do know that, since it came out, something like a dozen story-books have appeared, on identically the same pattern. The path I timidly explored believing myself to be 'the first that ever burst into that silent sea' — is now a beaten high-road: all the way-side flowers have long ago been trampled into the dust: and it would be courting disaster for me to attempt that style again.

On Writing Poetry (1995)
Context: After a year or two of keeping my head down and trying to pass myself off as a normal person, I made contact with the five other people at my university who were interested in writing; and through them, and some of my teachers, I discovered that there was a whole subterranean Wonderland of Canadian writing that was going on just out of general earshot and sight

Morning in the Burned House (1995), The Loneliness of the Military Historian
Context: Instead of this, I tell
what I hope will pass as truth.
A blunt thing, not lovely.
The truth is seldom welcome,
especially at dinner,
though I am good at what I do.
My trade is courage and atrocities.
I look at them and do not condemn.
I write things down the way they happened,
as near as can be remembered.
I don’t ask why, because it is mostly the same.
Wars happen because the ones who start them
think they can win.

"To the Public", No. 1 (1 January 1831) http://www.pbs.org/wgbh/aia/part4/4h2928t.html
The Liberator (1831 - 1866)
Context: I am aware that many object to the severity of my language; but is there not cause for severity? I will be as harsh as truth, and as uncompromising as justice. On this subject, I do not wish to think, or to speak, or write, with moderation. No! no! Tell a man whose house is on fire to give a moderate alarm; tell him to moderately rescue his wife from the hands of the ravisher; tell the mother to gradually extricate her babe from the fire into which it has fallen; — but urge me not to use moderation in a cause like the present. I am in earnest — I will not equivocate — I will not excuse — I will not retreat a single inch — AND I WILL BE HEARD. The apathy of the people is enough to make every statue leap from its pedestal, and to hasten the resurrection of the dead.

"A Talk with Kurt Vonnegut. Jr." by Robert Scholes in The Vonnegut Statement (1973) edited by Jerome Klinkowitz and John Somer October 1966), later published in Conversations With Kurt Vonnegut (1988), p. 123
Various interviews
Context: Well, I've worried some about, you know, why write books … why are we teaching people to write books when presidents and senators do not read them, and generals do not read them. And it's been the university experience that taught me that there is a very good reason, that you catch people before they become generals and presidents and so forth and you poison their minds with … humanity, and however you want to poison their minds, it's presumably to encourage them to make a better world.

QRO Magazine interview (2007)
Context: The first thing I did when I picked up any instrument, when I was five years old, was write a song. It's kind of funny; I thought about it, statements that it's a "solo effort" — it's kind of like, "Oh, well I've been doing this since I was five." I was kind of doing this before I did anything else.

Objecting to his sister Elisabeth, about her marriage to the anti-semite Bernhard Förster, in a Christmas letter (1887) http://www.geocities.com/thenietzschechannel/nlett1887.htm in Friedrich Nietzsche's Collected Letters, Vol. V, #479
Context: You have committed one of the greatest stupidities — for yourself and for me! Your association with an anti-Semitic chief expresses a foreignness to my whole way of life which fills me again and again with ire or melancholy. … It is a matter of honor with me to be absolutely clean and unequivocal in relation to anti-Semitism, namely, opposed to it, as I am in my writings. I have recently been persecuted with letters and Anti-Semitic Correspondence Sheets. My disgust with this party (which would like the benefit of my name only too well!) is as pronounced as possible, but the relation to Förster, as well as the aftereffects of my former publisher, the anti-Semitic Schmeitzner, always brings the adherents of this disagreeable party back to the idea that I must belong to them after all. … It arouses mistrust against my character, as if publicly I condemned something which I have favored secretly — and that I am unable to do anything against it, that the name of Zarathustra is used in every Anti-Semitic Correspondence Sheet, has almost made me sick several times.

Source: Refactoring: Improving the Design of Existing Code, 1999, p. 15

Pupils at Sais (1799)
Context: I. The Pupil. — Men travel in manifold paths: whoso traces and compares these, will find strange Figures come to light; Figures which seem as if they belonged to that great Cipher-writing which one meets with everywhere, on wings of birds, shells of eggs, in clouds, in the snow, in crystals, in forms of rocks, in freezing waters, in the interior and exterior of mountains, of plants, animals, men, in the lights of the sky, in plates of glass and pitch when touched and struck on, in the filings round the magnet, and the singular conjunctures of Chance. In such Figures one anticipates the key to that wondrous Writing, the grammar of it; but this Anticipation will not fix itself into shape, and appears as if, after all, it would not become such a key for us. An Alcahest seems poured out over the senses of men. Only for a moment will their wishes, their thoughts thicken into form. Thus do their Anticipations arise; but after short whiles, all is again swimming vaguely before them, even as it did.

Foreword
The Still Centre (1939)
Context: A poet can only write about what is true to his own experience, not about what he would like to be true to his experience.
Poetry does not state truth, it states the conditions within which something felt is true. Even while he is writing about the little portion of reality which is part of his experience, the poet may be conscious of a different reality outside. His problem is to relate the small truth to the sense of a wider, perhaps theoretically known, truth outside his experience.

Interview with Fantasy Book Critic (25 May 2007)
Context: Anyway, I was listening to Beagle answer a question on the panel, he said something along the lines of, "I'd never want to write The Last Unicorn again. It was excruciatingly hard, because I was writing a faerie tale while at the same time writing a spoof of a faerie tale."
I just sat there thunderstruck. I realized that's exactly what I had been doing for over a decade with my story. I was writing heroic fantasy, while at the same time I was satirizing heroic fantasy.
While telling his story, Kvothe makes it clear that he's not the storybook hero legends make him out to be. But at the same time, the reader sees that he's a hero nonetheless. He's just a hero of a different sort.

"Two Worlds," Nobel lecture (7 December 2001) http://nobelprize.org/nobel_prizes/literature/laureates/2001/naipaul-lecture-e.html
Context: I have told people who ask for lectures that I have no lecture to give. And that is true. It might seem strange that a man who has dealt in words and emotions and ideas for nearly fifty years shouldn't have a few to spare, so to speak. But everything of value about me is in my books. Whatever extra there is in me at any given moment isn't fully formed. I am hardly aware of it; it awaits the next book. It will — with luck — come to me during the actual writing, and it will take me by surprise. That element of surprise is what I look for when I am writing.

Fragment No. 114
Blüthenstaub (1798)
Context: The art of writing books is not yet invented. But it is at the point of being invented. Fragments of this nature are literary seeds. There may be many an infertile grain among them: nevertheless, if only some come up!

Ancient Medicine
Context: Whoever having undertaken to speak or write on Medicine, have first laid down for themselves some hypothesis to their argument, such as hot, or cold, or moist, or dry, or whatever else they choose, (thus reducing their subject within a narrow compass, and supposing only one or two original causes of diseases or of death among mankind,) are all clearly mistaken in much that they say; and this is the more reprehensible as relating to an art which all men avail themselves of on the most important occasions... For there are practitioners, some bad and some far otherwise, which, if there had been no such thing as Medicine, and if nothing had been investigated or found out in it... all would have been equally unskilled and ignorant of it, and everything concerning the sick would have been directed by chance. But now it is not so; for, as in all the other arts, those who practise them differ much from one another in dexterity and knowledge, so is it in like manner with Medicine. Wherefore I have not thought that it stood in need of an empty hypothesis, like those subjects which are occult and dubious... as, for example, with regard to things above us [meteorology, astronomy or astrology] and things below the earth [geology, Hades, ]; if any one should treat of these and undertake to declare how they are constituted, the reader or hearer could not find out, whether what is delivered be true or false; for there is nothing which can be referred to in order to discover the truth.<!--pp. 161-162

"The State of the Theatre" an interview by Henry Brandon in Harpers 221 (November 1960)
Context: I cannot write anything that I understand too well. If I know what something means to me, if I have already come to the end of it as an experience, I can't write it because it seems a twice-told tale. I have to astonish myself, and that of course is a very costly way of going about things, because you can go up a dead end and discover that it's beyond your capacity to discover some organism underneath your feeling, and you're left simply with a formless feeling which is not itself art. It's inexpressible and one must leave it until it is hardened and becomes something that has form and has some possibility of being communicated. It might take a year or two or three or four to emerge.

Oui interview (1979)
Context: Just because somebody hears something you say, or reads something that you write, doesn’t mean you’ve reached them. With reading comprehension being what it is in the U. S., you can safely toss that one out the window. If you want to judge by the listening habits of people who buy records, the first thing they do is put it on and talk over it.

"The Noodle Factory", speech given at the dedication of the Shain Library at Connecticut College, New London
Palm Sunday (1981)
Context: And I believe that reading and writing are the most nourishing forms of meditation anyone has so far found. By reading the writings of the most interesting minds in history, we meditate with our own minds and theirs as well. This to me is a miracle.

The Autobiography of a Sexually Emancipated Communist Woman (1926)
Context: Nothing is more difficult than writing an autobiography. What should be emphasized? Just what is of general interest? It is advisable, above all, to write honestly and dispense with any of the conventional introductory protestations of modesty. For if one is called upon to tell about one's life so as to make the events that made it what it became useful to the general public, it can mean only that one must have already wrought something positive in life, accomplished a task that people recognize. Accordingly it is a matter of forgetting that one is writing about oneself, of making an effort to abjure one's ego so as to give an account, as objectively as possible, of one's life in the making and of one's accomplishments.

1790s, The Age of Reason, Part I (1794)
Context: It is a contradiction in terms and ideas to call anything a revelation that comes to us at second hand, either verbally or in writing. Revelation is necessarily limited to the first communication. After this, it is only an account of something which that person says was a revelation made to him; and though he may find himself obliged to believe it, it cannot be incumbent on me to believe it in the same manner, for it was not a revelation made to me, and I have only his word for it that it was made to him.

Paris Review interview (1956)
Context: For me writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.

Interview http://www.lordotrings.com/interview.asp with Dennis Gerrolt, first broadcast on the BBC Radio 4 programme "Now Read On" (January 1971)
Context: It gives me great pleasure, a good name. I always in writing start with a name. Give me a name and it produces a story, not the other way about normally.

Acceptance speech of the National Book Award for Nonfiction (1952); also in Lost Woods: The Discovered Writing of Rachel Carson (1999) edited by Linda Lear, p. 91
Context: The winds, the sea, and the moving tides are what they are. If there is wonder and beauty and majesty in them, science will discover these qualities. If they are not there, science cannot create them. If there is poetry in my book about the sea, it is not because I deliberately put it there, but because no one could write truthfully about the sea and leave out the poetry.

Letter to Erastus Corning and Others https://quod.lib.umich.edu/l/lincoln/lincoln6/1:569?rgn=div1;view=fulltext (12 June 1863) in "The Collected Works of Abraham Lincoln, vol. 6" (The Abraham Lincoln Association, 1953), p. 266
1860s
Context: Long experience has shown that armies can not be maintained unless desertion shall be punished by the severe penalty of death. The case requires, and the law and the constitution, sanction this punishment. Must I shoot a simple-minded soldier boy who deserts, while I must not touch a hair of a wiley agitator who induces him to desert? This is none the less injurious when effected by getting a father, or brother, or friend, into a public meeting, and there working upon his feeling, till he is persuaded to write the soldier boy, that he is fighting in a bad cause, for a wicked administration of a contemptable government, too weak to arrest and punish him if he shall desert. I think that in such a case, to silence the agitator, and save the boy, is not only constitutional, but, withal, a great mercy.

Girl, Interrupted (1994)
Context: “The person often experiences this instability of self-image as chronic feelings of emptiness or boredom.” My chronic feelings of emptiness and boredom came from the fact that I was living a life based on my incapacities, which were numerous. A partial list follows. I could not and did not want to: ski, play tennis, or go to gym class; attend to any subject in school other than English and biology; write papers on any assigned topics (I wrote poems instead of papers for English; I got F’s); plan to go or apply to college; give any reasonable explanation for these refusals.

Go Rin No Sho (1645), The Fire Book

Source: Motivation and Personality (1954), p. 93.
Context: A musician must make music, an artist must paint, a poet must write, if he is to be ultimately at peace with himself. What a man can be, he must be. This need we may call self-actualization. This term, first coined by Kurt Goldstein, is being used in this paper in a much more specific and limited fashion. It refers to the desire for self-fulfillment, namely, to the tendency for him to become actualized in what he is potentially. This tendency might be phrased as the desire to become more and more what one is, to become everything that one is capable of becoming.

Invitation to the Journey
Journey Within (1947)
Context: Never do I hesitate to look squarely at the unexpected face that every passing hour unveils to us, and to sacrifice the false images of it formed in advance, however dear they may be. In me, the love of life in general predominates over love of my own life (that, indeed, would never have sufficed to bear me up). May life herself speak! However inadequate I may be in listening to her, and in repeating her words, I shall try to record them, even if they contradict my most secret desires. In all that I write, may her will, not mine, be done!

A Conversation With The Legendary J.M. DeMatteis! (2004)
Context: Follow your heart, follow your dreams. If writing is your passion, put everything you have into it. Let that passion, that joy, lead you. In the end it might not lead you to exactly the place you thought you were heading... but it will absolutely lead you someplace wonderful. And don’t let the Nay-Sayers, the Practical People, stop you or wear you down. Follow your dreams... and you can’t go wrong.

The Casebook of the Black Widowers (1980), p. 177
General sources
Context: When you write a short story... you had better know the ending first. The end of a story is only the end to the reader. To the writer, it's the beginning. If you don't know exactly where you're going every minute you're writing, you'll never get there — or anywhere.

Source: A Room of One's Own (1929), Ch. 6, pp. 117-118
Context: My belief is that if we live another century or so — I am talking of the common life which is the real life and not of the little separate lives which we live as individuals — and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting-room and see human beings not always in their relation to each other but in relation to reality; and the sky, too, and the trees or whatever it may be in themselves; if we look past Milton's bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare's sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would be impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.

Conference Madrid 2019

Ante-Nicene Christian library: v. 3 p. 5
Address to the Greeks

On feeling the voice of a character in “Trust, Serendipity, and Consent: An Interview with Trust Exercise Author Susan Choi” https://www.bookish.com/articles/interview-susan-choi-trust-exercise/ in Bookish (2019 Apr 16)

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

On formulating characters in “An Interview with Amulya Malladi” http://jaggerylit.com/an-interview-with-amulya-malladi/ in Jaggery

On staying open to new opportunities in “The Artist as Leader: Luis Alfaro” https://www.uncsa.edu/kenan/artist-as-leader/luis-alfaro.aspx (Thomas S. Kenan Institute for the Arts)

During a seminar at Milan’s IULM University, speaking of the haters; as quoted in "Escort for Liliana Segre following insults and threats" https://www.corriere.it/english/19_novembre_07/escort-for-liliana-segre-following-insults-and-threats-2c3dea64-015f-11ea-bfaf-9602a8f3f6c1.shtml, Corriere.it (7 November 2019).

Nathuram Godse: Why I Assassinated Gandhi (1993)

2015, Supreme Court Decision on Marriage Equality (June 2015)

Maitreya's Mission Vol. I (1986)

Autobiography (1936; 1949; 1958)

Fidel Castro Reader, pp. 238
Words to Intellectuals (1961)