Quotes by "Terri Windling"

Although I've written a few (a very few) poems over the years, I am not a natural poet...and I remain in awe of people who are. The ability to evoke deep emotion, reveal a new facet of the world, or condense an entire story into the limited space and form of a poem (or likewise, of a good song lyric, or the text for a children's picture book) seems like pure magic to me.

In older myths, the dark road leads downward into the Underworld, where Persephone is carried off by Hades, much against her will, while Ishtar descends of her own accord to beat at the gates of Hell. This road of darkness lies to the West, according to Native American myth, and each of us must travel it at some point in our lives. The western road is one of trials, ordeals, disasters and abrupt life changes — yet a road to be honored, nevertheless, as the road on which wisdom is gained. James Hillman, whose theory of 'archetypal psychology' draws extensively on Greco–Roman myth, echoes this belief when he argues that darkness is vital at certain periods of life, questioning our modern tendency to equate mental health with happiness. It is in the Underworld, he reminds us, that seeds germinate and prepare for spring. Myths of descent and rebirth connect the soul's cycles to those of nature.

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

Some years ago I had a conversation with a man who thought that writing and editing fantasy books was a rather frivolous job for a grown woman like me. He wasn’t trying to be contentious, but he himself was a probation officer, working with troubled kids from the Indian reservation where he’d been raised. Day in, day out, he dealt in a concrete way with very concrete problems, well aware that his words and deeds could change young lives for good or ill. I argued that certain stories are also capable of changing lives, addressing some of the same problems and issues he confronted in his daily work: problems of poverty, violence, and alienation, issues of culture, race, gender, and class... “Stories aren’t real,” he told me shortly. “They don’t feed a kid left home in an empty house. Or keep an abusive relative at bay. Or prevent an unloved child from finding ‘family’ in the nearest gang.” Sometimes they do, I tried to argue. The right stories, read at the right time, can be as important as shelter or food. They can help us to escape calamity, and heal us in its aftermath. He frowned, dismissing this foolishness, but his wife was more conciliatory. “Write down the names of some books,” she said. “Maybe we’ll read them.” I wrote some titles on a scrap of paper, and the top three were by Charles de lint – for these are precisely the kind of tales that Charles tells better than anyone. The vital, necessary stories. The ones that can change and heal young lives. Stories that use the power of myth to speak truth to the human heart. Charles de Lint creates a magical world that’s not off in a distant Neverland but here and now and accessible, formed by the “magic” of friendship, art, community, and social activism. Although most of his books have not been published specifically for adolescents and young adults, nonetheless young readers find them and embrace them with particular passion. I’ve long lost count of the number of times I’ve heard people from troubled backgrounds say that books by Charles saved them in their youth, and kept them going. Recently I saw that parole officer again, and I asked after his work. “Gets harder every year,” he said. “Or maybe I’m just getting old.” He stopped me as I turned to go. “That writer? That Charles de Lint? My wife got me to read them books…. Sometimes I pass them to the kids.” “Do they like them?” I asked him curiously. “If I can get them to read, they do. I tell them: Stories are important.” And then he looked at me and smiled.

Charles de Lint creates a magical world that’s not off in a distant Neverland but here and now and accessible, formed by the “magic” of friendship, art, community, and social activism. Although most of his books have not been published specifically for adolescents and young adults, nonetheless young readers find them and embrace them with particular passion. I’ve long lost count of the number of times I’ve heard people from troubled backgrounds say that books by Charles saved them in their youth, and kept them going.

I love so many books and authors that it's hard to name just a few, but I'm always particularly excited when new books by Alice Hoffman, John Crowley, Joanne Harris, Elizabeth Knox, and Patricia McKillip come out. (And, of course, books by Ellen [Kushner], and Holly [Black], and the rest of the Bordertown crew!) I'm impatiently looking forward to Susanna Clarke's next book too. Aside from writing and reading, my favorite things to do are paint, walk in the countryside with my dog, and listen to music -- especially when it's live and it's played by friends. Fortunately there's a lot of live music where I live.

When I was younger, I was in love with everything about the British Isles, from British folklore to Celtic music. That was always where my passions were as a young girl, and so I studied folklore as a college student in England and Ireland.

I'm working on a very long series of paintings based on desert folklore.

There's that old adage about how there's only seven plots in the world and Shakespeare's done them all before.

I like Celtic folk music, Native American music, and any kind of early music. There isn't a lot of music that I don't like... except for Show Tunes.