Children, like animals, use all their senses to discover the world. Then artists come along and discover it the same way all over again.
All serious daring starts from within.
The excursion is the same when you go looking for your sorrow as when you go looking for your joy.
Indeed, learning to write may be part of learning to read. For all I know, writing comes out of a superior devotion to reading.
He, who had once been the declared optimist, had not once expressed hope. Now it was she who was offering it to him. And it might be false hope
It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass. Yet regardless of where they come from, I cannot remember a time when I was not in love with them -- with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself. Still illiterate, I was ready for them, committed to all the reading I could give them ...
Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them. I suppose it’s an early form of participation in what goes on. Listening children know stories are there. When their elders sit and begin, children are just waiting and hoping for one to come out, like a mouse from its hole.
It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass.
Writing a story or a novel is one way of discovering sequence in experience, of stumbling upon cause and effect in the happenings of a writer's own life.
Both reading and writing are experiences--lifelong-- in the course of which we who encounter words used in certain ways are persuaded by them to be brought mind and heart within the presence, the power, of the imagination.
Since we must and do write each our own way, we may during actual writing get more lasting instruction not from another's work, whatever its blessings, however better it is than ours, but from our own poor scratched-over pages. For these we can hold up to life. That is, we are born with a mind and heart to hold each page up to, and to ask: is it valid?
For the source of the short story is usually lyrical. And all writers speak from, and speak to, emotions eternally the same in all of us: love, pity, terror do not show favorites or leave any of us out.
I learned from the age of two or three that any room in our house, at any time of day, was there to read in, or be read to.
Surely even those immune from the world, for the time being, need the touch of one another, or all is lost.
What occupied his full mind was time itself; time passing: he was concentrating
Writers and travelers are mesmerized alike by knowing of their destinations.
Greater than scene is situation. Greater than situation is implication. Greater than all of these is a single, entire human being, who will never be confined in any frame.
Writing fiction has developed in me an abiding respect for the unknown in a human lifetime and a sense of where to look for the threads, how to follow, how to connect, find in the thick of the tangle what clear line persists.
I am a writer who came of a sheltered life. A sheltered life can be a daring life as well. For all serious daring starts from within.
A sheltered life can be a daring life as well. For all serious daring starts from within.