Quotes of All Topics . Occasions . Authors
a fellow is more afraid of the trouble he might have than he ever is of the trouble he's already got. He'll cling to trouble he's used to before he'll risk a change. Yes. A man will talk about how he'd like to escape from living folks. But it's the dead folks that do him the damage. It's the dead ones that lay quiet in one place and dont try to hold him, that he cant escape from.
So, never be afraid. Never be afraid to raise your voice for honesty and truth and compassion, against injustice and lying and greed. If you, not just you in this room tonight, but in all the thousands of other rooms like this one about the world today and tomorrow and next week, will do this, not as a class or classes, but as individuals, men and women, you will change the earth.
...I give you the mausoleum of all hope and desire...I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all of your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.
The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.
…I seemed to be lying neither asleep nor awake looking down a long corridor of gray half light where all stable things had become shadowy paradoxical all I had done shadows all I had felt suffered taking visible form antic and perverse mocking without relevance inherent themselves with the denial of the significance they should have affirmed thinking I was I was not who was not was not who.
That was when I learned that words are no good; that words dont ever fit even what they are trying to say at. When he was born I knew that motherhood was invented by someone who had to have a word for it because the ones that had the children didn't care whether there was a word for it or not. I knew that fear was invented by someone that had never had the fear; pride, who never had the pride.
You get born and you try this and you don't know why, only you keep on trying it and you are born at the same time with a lot of other people, all mixed up with them, like trying to, having to, move your arms and legs with strings, only the same strings are hitched to all the other arms and legs and the others all trying and they don't know why either except that the strings are all in one another's way.
The writer's only responsibility is to his art. He will be completely ruthless if he is a good one. He has a dream. It anguishes him so much he must get rid of it. He has no peace until then. Everything goes by the board: honor, pride, decency, security, happiness, all, to get the book written. If a writer has to rob his mother, he will not hesitate; the 'Ode on a Grecian Urn' is worth any number of old ladies.
...I would think how words go straight up in a thin line, quick and harmless, and how terribly doing goes along the earth, clinging to it, so that after a while the two lines are too far apart for the same person to straddle from one to the other; and that sin and love and fear are just sounds that people who never sinned nor loved nor feared have for what they never had and cannot have until they forget the words.
Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.
Women are like that they don't acquire knowledge of people we are for that they are just born with a practical fertility of suspicion that makes a crop every so often and usually right they have an affinity for evil for supplying whatever the evil lacks in itself for drawing it about them instinctively as you do bed-clothing in slumber fertilizing the mind for it until the evil has served its purpose whether it ever existed or no.
If we Americans are to survive it will have to be because we choose and elect and defend to be first of all Americans; to present to the world one homogeneous and unbroken front, whether of white Americans or black ones or purple or blue or green... If we in America have reached that point in our desperate culture when we must murder children, no matter for what reason or what color, we don't deserve to survive, and probably won't.
God created man and He created the world for him to live in and I reckon He created the kind of world He would have wanted to live in if He had been a man--the ground to walk on, the big woods, the trees and the water, and the game to live in it. And maybe He didn't put the desire to hunt and kill game in man but I reckon He knew it was going to be there, that man was going to teach it to himself, since he wasn't quite God himself yet.
Always dream and shoot higher than you know you can do. Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself. An artist is a creature driven by demons. He don't know why they choose him and he's usually too busy to wonder why. He is completely amoral in that he will rob, borrow, beg, or steal from anybody and everybody to get the work done. The writer's only responsibility is to his art.
The ideal woman which is in every man's mind is evoked by a word or phrase or the shape of her wrist, her hand. The most beautiful description of a woman is by understatement. Remember, all Tolstoy ever said to describe Anna Karenina was that she was beautiful and could see in the dark like a cat. Every man has a different idea of what's beautiful, and it's best to take the gesture, the shadow of the branch, and let the mind create the tree.
Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again.
The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. This is the artist's way of scribbling "Kilroy was here" on the wall of the final and irrevocable oblivion through which he must someday pass.
He thought that it was loneliness which he was trying to escape and not himself. But the street ran on: catlike, one place was the same as another to him. But in none of them could he be quiet. But the street ran on in its moods and phases, always empty: he might have seen himself as in numberless avatars, in silence, doomed with motion, driven by the courage of flagged and spurred despair; by the despair of courage whose opportunities had to be flagged and spurred.
He had a word, too. Love, he called it. But I had been used to words for a long time. I knew that that word was like the others: just a shape to fill a lack; that when the right time came, you wouldn't need a word for that any more than for pride or fear....One day I was talking to Cora. She prayed for me because she believed I was blind to sin, wanting me to kneel and pray too, because people to whom sin is just a matter of words, to them salvation is just words too.
People between twenty and forty are not sympathetic. The child has the capacity to do but it can't know. It only knows when it is no longer able to do -after forty. Between twenty and forty the will of the child to do gets stronger, more dangerous, but it has not begun to learn to know yet. Since his capacity to do is forced into channels of evil through environment and pressures, man is strong before he is moral. The world's anguish is caused by people between twenty and forty.
Yes sir. You can be more careless, you can put more trash in [a novel] and be excused for it. In a short story that's next to the poem, almost every word has got to be almost exactly right. In the novel you can be careless but in the short story you can't. I mean by that the good short stories like Chekhov wrote. That's why I rate that second - it's because it demands a nearer absolute exactitude. You have less room to be slovenly and careless. There's less room in it for trash.
It is just dawn, daylight: that gray and lonely suspension filled with the peaceful and tentative waking of birds. The air, inbreathed, is like spring water. He breathes deep and slow, feeling with each breath himself diffuse in the natural grayness, becoming one with loneliness and quiet that has never known fury or despair. "That was all I wanted," he thinks, in a quiet and slow amazement. "That was all, for thirty years. That didn't seem to be a whole lot to ask in thirty years.
They say love dies between two people. That’s wrong. It doesn’t die. It just leaves you, goes away, if you aren’t good enough, worthy enough. It doesn’t die; you’re the the one that dies. It’s like the ocean: if you’re no good, if you begin to make a bad smell in it, it just spews you up somewhere to die. You die anyway, but I had rather drown in the ocean than be urped up onto a strip of dead beach and be dried away by the sun into a little foul smear with no name to it, just this was for an epitaph
In the South you are ashamed of being a virgin. Boys. Men. They lie about it. Because it means less to women, Father said. He said it was men invented virginity not women. Father said it's like death: only a state in which the others are left and I said, But to believe it doesn't matter and he said, That's what's so sad about anything: not only virginity and I said, Why couldn't it have been me and not her who is unvirgin and he said, That's why that's sad too; nothing is even worth the changing of it.
We will have to choose not between color nor race nor religion nor between East and West either, but simply between being slaves and being free. And we will have to choose completely and for good; the time is already past now when we can choose a little of each, a little of both. We can choose a state of slavedom, and if we are powerful enough to be among the top two or three or ten, we can have a certain amount of license - until someone more powerful rises and has us machine-gunned against a cellar wall.
The past is never dead. It's not even past. All of us labor in webs spun long before we were born, webs of heredity and environment, of desire and consequence, of history and eternity. Haunted by wrong turns and roads not taken, we pursue images perceived as new but whose providence dates to the dim dramas of childhood, which are themselves but ripples of consequence echoing down the generations. The quotidian demands of life distract from this resonance of images and events, but some of us feel it always.
. . .in August in Mississippi there’s a few days somewhere about the middle of the month when suddenly there’s a foretaste of fall, it’s cool, there’s a lambence, a soft, a luminous quality to the light, as though it came not from just today but from back in the old classic times. It might have fauns and satyrs and the gods and---from Greece, from Olympus in it somewhere. It lasts just for a day or two, then it’s gone. . .the title reminded me of that time, of a luminosity older than our Christian civilization.
He made the earth first and peopled it with dumb creatures, and then He created man to be His overseer on the earth and to hold suzerainty over the earth and the animals on it in His name, not to hold for himself and his descendants inviolable title forever, generation after generation, to the oblongs and squares of the earth, but to hold the earth mutual and intact in the communal anonymity of brotherhood, and all the fee He asked was pity and humility and sufferance and endurance and the sweat of has face for bread.
Because there is something in the touch of flesh with flesh which abrogates, cuts sharp and straight across the devious intricate channels of decorous ordering, which enemies as well as lovers know because it makes them both:---touch and touch of that which is the citadel of the central I-Am's private own: not spirit, soul; the liquorish and ungirdled mind is anyone's to take in any any darkened hallway of this earthly tenement. But let flesh touch with flesh, and watch the fall of all the eggshell shibboleth of caste and color too.
Good art can come out of thieves, bootleggers, or horse swipes. People really are afraid to find out just how much hardship and poverty they can stand. They are afraid to find out how tough they are. Nothing can destroy the good writer. The only thing that can alter the good writer is death. Good ones don't have time to bother with success or getting rich. Success is feminine and like a woman; if you cringe before her, she will override you. So the way to treat her is to show her the back of your hand. Then maybe she will do the crawling.
I notice how it takes a lazy man, a man that hates moving, to get set on moving once he does get started off, the same as when he was set on staying still, like it aint the moving he hates so much as the starting and the stopping. And like he would be kind of proud of whatever come up to make the moving or the setting still look hard. He set there on the wagon hunched up, blinking, listening to us tell about how quick the bridge went and how high the water was, and I be durn if he didn't act like he was proud of it, like he had made the river rise himself.
It has always seemed to me that the only painless death must be that which takes the intelligence by violent surprise and from the rear so to speak since if death be anything at all beyond a brief and peculiar emotional state of the bereaved it must be a brief and likewise peculiar state of the subject as well and if aught can be more painful to any intelligence above that of a child or an idiot than a slow and gradual confronting with that which over a long period of bewilderment and dread it has been taught to regard as an irrevocable and unplumbable finality, I do not know it.
At one time I thought the most important thing was talent. I think now that the young man must possess or teach himself, training himself, in infinite patience, which is to try and to try until it comes right. He must train himself in ruthless intolerance-that is to throw away anything that is false no matter how much he might love that page or that paragraph. The most important thing is insight, that is to be-curiosity-to wonder, to mull, and to muse why it is that man does what he does, and if you have that, then I don't think the talent makes much difference, whether you've got it or not.