Category: Lit & Crit
“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.” – William Faulkner (interview with Jean Stein in Paris Review)
“It is sometimes just at the moment when we think that everything is lost that the intimation arrives which may save us; one has knocked at all the doors which lead nowhere, and then one stumbles without knowing it on the only door through which one can enter—which one might have sought in vain for a hundred years—and it opens of its own accord.” – Marcel Proust, Time Regained (trans. Moncrieff and Kilmartin)
“If I were reincarnated, I’d want to come back a buzzard. Nothing hates him or envies him or wants him or needs him. He is never bothered or in danger, and he can eat anything.” – William Faulkner (interview with Jean Stein in Paris Review)
“When we study certain periods of ancient history, we are astonished to see men and women individually good participate without scruple in mass assassinations or human sacrifices which probably seemed to them natural things. And our own age no doubt, when its history is read two thousand years hence, will seem to an equal degree to have bathed men of pure and tender conscience in a vital element which will strike the future reader as monstrously pernicious, but to which at the time those men adapted themselves without difficulty.” – Marcel Proust, Time Regained (trans. Moncrieff and Kilmartin)
“Nothing can injure a man’s writing if he’s a first-rate writer. If a man is not a first-rate writer, there’s not anything can help it much.” – William Faulkner (interview with Jean Stein in Paris Review)
“Cathedrals are to be adored until the day when, to preserve them, it would be necessary to deny the truths which they teach.” – Marcel Proust, Time Regained (trans. Moncrieff and Kilmartin)
“The writer doesn’t need economic freedom. All he needs is a pencil and some paper. I’ve never known anything good in writing to come from having accepted any free gift of money. The good writer never applies to a foundation. He’s too busy writing something. If he isn’t first rate he fools himself by saying he hasn’t got time or economic freedom. 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.” – William Faulkner (interview with Jean Stein in Paris Review)
“The Socialist who finds his children playing with soldiers is usually upset, but he is never able to think of a substitute for the tin soldiers; tin pacifists somehow won’t do.” George Orwell, “Review of Mein Kampf by Adolph Hitler”
“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.” – William Faulkner (interview with Jean Stein in Paris Review)
“How many letters are actually read into a word by a careless person who knows what to expect, who sets out with the idea that the message is from a certain person? How many words into the sentence? We guess as we read, we create; everything starts from an initial error; those that follow (and this applies not only to the reading of letters and telegrams, not only to all reading), extraordinary as they may appear to a person who has not begun at the same place, are all quite natural. A large part of what we believe to be true (and this applies even to our final conclusions) with an obstinacy equalled only by our good faith, springs from an original mistake in our premises.” – Marcel Proust, The Fugitive (trans. Moncrieff and Kilmartin)
“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.” – William Faulkner (interview with Jean Stein in Paris Review)
“Lying is essential to humanity. It plays as large a part perhaps as the quest for pleasure, and is moreover governed by that quest. One lies in order to protect one’s pleasure, or one’s honour if the disclosure of one’s pleasure runs counter to one’s honour. One lies all one’s life long, even, especially, perhaps only, to those who love one. For they alone make us fear for our pleasure and desire their esteem.” – Marcel Proust, The Fugitive (trans. Moncrieff and Kilmartin)
“Maybe every novelist wants to write poetry first, finds he can’t, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing.” – William Faulkner (interview with Jean Stein in Paris Review)
“What is important is Hamlet and A Midsummer Night’s Dream, not who wrote them, but that somebody did. The artist is of no importance. Only what he creates is important, since there is nothing new to be said. Shakespeare, Balzac, Homer have all written about the same things, and if they had lived one thousand or two thousand years longer, the publishers wouldn’t have needed anyone since.” – William Faulkner (interview with Jean Stein in Paris Review)
“Certain philosophers assert that the external world does not exist, and that it is within ourselves that we develop our lives. However that may be, love, even in its humblest beginnings, is a striking example of how little reality means to us.” – Marcel Proust, The Fugitive (trans. Moncrieff and Kilmartin)
“The two chief causes of error in one’s relations with another person are, having oneself a kind heart, or else being in love with that other person. We fall in love for a smile, a look, a shoulder. That is enough; then, in the long hours of hope or sorrow, we fabricate a person, we compose a character.” – Marcel Proust, The Fugitive (trans. Moncrieff and Kilmartin)
“We believe that we can change things around us in accordance with our desires—we believe it because otherwise we can see no favourable outcome. We do not think of the outcome which generally comes to pass and is also favourable: we do not succeed in changing things in accordance with our desires, but gradually our desires change. The situation that we hoped to change because it was intolerable becomes unimportant to us. We have failed to surmount the obstacle, as we were absolutely determined to do, but life has taken us round it, led us beyond it, and then if we can turn round to gaze into the distance of the past, we can barely see it, so imperceptible has it become.” – Marcel Proust, The Fugitive (trans. Moncrieff and Kilmartin)
”There is hardly ever either a just sentence or a judicial error, but a sort of compromise between the false idea that the judge forms of an innocent act and the culpable deeds of which he is unaware.” – Marcel Proust, The Fugitive (trans. Moncrieff and Kilmartin)
“We find a little of everything in our memory; it is a sort of pharmacy, a sort of chemical laboratory, in which our groping hand may come to rest now on a sedative drug, now on a dangerous poison.” – Marcel Proust, The Captive (trans. Moncrieff and Kilmartin)
“The secret to being a writer is…writing. Writing and revising, which are the essence of discipline. Can’t sit in the chair eight hours a day? Then this probably isn’t the life for you.” – Fiona Maazel, “The ‘It’ Factor” (ellipsis in original)
“Preparations for war, which are recommended by the most misleading of adages as the best way of ensuring peace, on the contrary create first of all the belief in each of the adversaries that the other desires a rupture, a belief which brings the rupture about, and then, when it has occurred, the further belief in each of the two that it is the other that has sought it. Even if the threat was not sincere, its success encourages a repetition. But the exact point up to which a bluff may succeed is difficult to determine; if one party goes too far, the other, which has yielded hitherto, advances in its turn; the first party, no longer capable of changing its methods, accustomed to the idea that to seem not to fear a rupture is the best way of avoiding one…, and moreover driven by pride to prefer death to surrender, perseveres in its threat until the moment when neither can draw back. The bluff may also be blended with sincerity, may alternate with it, and what was yesterday a game may become reality tomorrow. Finally it may also happen that one of the adversaries is really determined upon war.” – Marcel Proust, The Captive (trans. Moncrieff and Kilmartin)
“The event that Nietzsche called ‘the death of God’ — less metaphorically, the collapse of Christian faith as a living factor in the lives and psyches of most people in Europe and the European diaspora — left an immense void in our collective life, and a great many people went looking for some secular equivalent of religion in order to fill that void. Over the last century or so, faith in progress has become the most popular replacement for religion, and believers in progress cling to it as unquestioningly as believers in other religions cling to the dogmas of their faiths.” – John Michael Greer (interview with Jessa Crispin in Bookslut)
“It is as difficult to present a fixed image of a character as of societies and passions. For a character alters no less than they do, and if one tries to take a snapshot of what is relatively immutable in it, one finds it presenting a succession of different aspects (implying that it is incapable of keeping still but keeps moving) to the disconcerted lens.” – Marcel Proust, The Captive (trans. Moncrieff and Kilmartin)
“The disgraced ambassador, the under-secretary placed suddenly on the retired list, the man about town who finds himself cold-shouldered, the lover who has been shown the door, examine, sometimes for months on end, the event that has shattered their hopes; they turn it over and over like a projectile fired at them they know not from whence or by whom, almost as though it were a meteorite. They long to know the constituent elements of this strange missile which has burst upon them, to learn what animosities may be detected therein. Chemists have at least the means of analysis; sick men suffering from a disease the origin of which they do not know can send for the doctor; criminal mysteries are more or less unravelled by the examining magistrate. But for the disconcerting actions of our fellow-men we rarely discover the motives.” – Marcel Proust, The Captive (trans. Moncrieff and Kilmartin)
“I wondered whether music might not be the unique example of what might have been—if the invention of language, and the formation of words, the analysis of ideas had not intervened—the means of communications between souls. It is like a possibility that has come to nothing; humanity has developed along other lines, those of spoken and written language.” – Marcel Proust, The Captive (trans. Moncrieff and Kilmartin)
“The first task—and thrill—for the writer is to surprise himself with his own imagination, and relay that surprise to the reader. Whether that’s done on the syntactic level or by having the protagonist forget to wipe his feet is up to the writer and the story he’s conjuring out of nothing. What’s important is that the story is revealed organically and with originality.” – Terese Svoboda, “To Plot or Not”
“Plots are as cheap as dirt, all of them variations on Jack in the Beanstalk or Cinderella. It’s the language, the emotion, the point of view that make a plot seem brilliant, the way the writer reveals what’s been withheld.” – Terese Svoboda, “To Plot or Not”
“Everything is arranged in this life as though we entered it carrying a burden of obligations contracted in some former life; there is no reason inherent in the conditions of life on this earth that can make us consider ourselves obliged to do good, to be kind and thoughtful, even to be polite, nor for an atheist artist to consider himself obliged to begin over again a score of times a piece of work the admiration aroused by which will matter little to his worm-eaten body…. All these obligations, which have no sanction in our present life, seem to belong to a different world, a world based on kindness, scrupulousness, self-sacrifice, a world entirely different from this one and which we leave in order to be born on this earth, before perhaps returning there to live once again beneath the sway of those unknown laws which we obeyed because we bore their precepts in our hearts, not knowing whose hand had traced them there.” – Marcel Proust, The Captive (trans. Moncrieff and Kilmartin)
“Nature scarcely seems capable of giving us any but quite short illnesses. But medicine has developed the art of prolonging them.” – Marcel Proust, The Captive (trans. Moncrieff and Kilmartin)
“What is more usual than a lie, whether it is a question of masking the daily weaknesses of the constitution which we wish to be thought strong, of concealing a vice, or of going off, without offending other people, to do the thing that we prefer? It is the most necessary means of self-preservation, and the one that is most widely used.” – Marcel Proust, The Captive (trans. Moncrieff and Kilmartin)