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Read through the most famous quotes by topic #biography
It’s a bit burned,” my mother would say apologetically at every meal, presenting you with a piece of meat that looked like something — a much-loved pet perhaps — salvaged from a tragic house fire. “But I think I scraped off most of the burned part,” she would add, overlooking that this included every bit of it that had once been flesh. Happily, all this suited my father. His palate only responded to two tastes - burned and ice cream — so everything suited him so long as it was sufficiently dark and not too startlingly flavorful. Theirs truly was a marriage made in heaven, for no one could burn food like my mother or eat it like my dad. ↗
After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication. ↗
Outside and inside, life and soul, appear as parallels in “case history” and “soul history.” A case history is a biography of historical events in which one took part: family, school, work, illness, war, love. The soul history often neglects entirely some or many of these events, and spontaneously invents fictions and “inscapes” without major outer correlations. The biography of the soul concerns experience. It seems not to follow the one-way direction of the flow of time, and it is reported best by emotions, dreams, and fantasies … The experiences arising from major dreams, crises, and insights give definition to the personality. They too have “names” and “dates” like the outer events of case history; they are like boundary stones, which mark out one’s own individual ground. These marks can be less denied than can the outer facts of life, for nationality, marriage, religion, occupation, and even one’s own name can all be altered … Case history reports on the achievements and failures of life with the world of facts. But the soul has neither achieved nor failed in the same way … The soul imagines and plays – and play is not chronicled by report. What remains of the years of our childhood play that could be set down in a case history? … Where a case history presents a sequence of facts leading to diagnosis, soul history shows rather a concentric helter-skelter pointing always beyond itself … We cannot get a soul history through a case history. ↗
