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Read through the most famous quotes by topic #writ
The artist is a servant who is willing to be a birthgiver. In a very real sense the artist (male or female) should be like Mary who, when the angel told her that she was to bear the Messiah, was obedient to the command. ...I believe that each work of art, whether it is a work of great genius, or something very small, comes to the artist and says, "Here I am. Enflesh me. Give birth to me." And the artist either says, "My soul doth magnify the Lord," and willingly becomes the bearer of teh work, or refuses; but the obedient response is not necessarily a conscious one, and not everyone has the humble, courageous obedience of Mary. As for Mary, she was little more than a child when the angel came to her; she had not lost her child's creative acceptance of the realities moving on the other side of the everyday world. We lose our ability to see angels as we grow older, and that is a tragic loss. ↗
Woolf worried about the childlessness from time to time, and suffered from the imposed anxiety that she was not, unlike her friend Vita Sackville-West, a real woman. I do not know what kind of woman one would have to be to stand unflinchingly in front of The Canon, but I would guess, a real one. There is something sadistic in the whip laid on women to prove themselves as mothers and wives at the same time as making their way as artists. The abnormal effort that can be diverted or divided. We all know the story of Coleridge and the Man from Porlock. What of the woman writer and a whole family of Porlocks? For most of us the dilemma is rhetorical but those women who are driven with consummate energy through a single undeniable channel should be applauded and supported as vigorously as the men who have been setting themselves apart for centuries. ↗
A word of warning here. The events as you remember them will never be the same in your memory once you have turned them into a memoir. For years I have worried that if I turn all of my life into literature, I won't have any real life left - just stories about it. And it is a realistic concern: it does happen like that. I am no longer sure I remember how it felt to be twenty and living in Spain after my parents died; my book about it stands now between me and my memories. When I try to think about that time, what comes to mind most readily is what I wrote. ↗
In a sense, the first (if not necessarily the prime) function of a novelist, of ANY artist, is to entertain. If the poem, painting, play or novel does not immediately engage one's surface interest then it has failed. Whatever else it may or may not be, art is also entertainment. Bad art fails to entertain. Good art does something in addition. ↗
The art of fiction has not changed much since prehistoric times. The formula for telling a powerful story has remained the same: create a strong character, a person of great strengths, capable of deep emotions and decisive action. Give him a weakness. Set him in conflict with another powerful character -- or perhaps with nature. Let his exterior conflict be the mirror of the protagonist's own interior conflict, the clash of his desires, his own strength against his own weakness. And there you have a story. Whether it's Abraham offering his only son to God, or Paris bringing ruin to Troy over a woman, or Hamlet and Claudius playing their deadly game, Faust seeking the world's knowledge and power -- the stories that stand out in the minds of the reader are those whose characters are unforgettable. To show other worlds, to describe possible future societies and the problems lurking ahead, is not enough. The writer of science fiction must show how these worlds and these futures affect human beings. And something much more important: he must show how human beings can and do literally create these future worlds. For our future is largely in our own hands. It doesn't come blindly rolling out of the heavens; it is the joint product of the actions of billions of human beings. This is a point that's easily forgotten in the rush of headlines and the hectic badgering of everyday life. But it's a point that science fiction makes constantly: the future belongs to us -- whatever it is. We make it, our actions shape tomorrow. We have the brains and guts to build paradise (or at least try). Tragedy is when we fail, and the greatest crime of all is when we fail even to try. Thus science fiction stands as a bridge between science and art, between the engineers of technology and the poets of humanity. ↗
What happened was that sometimes I was, from a young age, put in the theater to watch movies because they kept me quiet and they kept me entertained, and they got me out from under the feet of my parents. So from a very early age, I went to the movies and I soon grew to prefer the life of the movies to my own life. The reality that the movies offered was preferable to the reality that I was experiencing. I became a child movie addict. I would go in with great pleasure and I'd never look at what was playing -- what was playing was unimportant. The fact was that I was entering a new world, an environment where not only was it much more attractive than my life was ordinarily, but also I could manipulate it to an extent by coming and going, and by looking at scenes or not, which I could not in my own life. I was subjected to my own domestic life. But I discovered a kind of power at the movies. ↗
She [Mary Maclane] is almost always referred to as “confessional.” She has been referred to, several times, as the first blogger. Whereas her writing does not confess much - it is much more spiritual memoir than anything, or perhaps something akin to a mystic’s courtly love, directed at the self. I am wondering what distinguishes writing as confessional… I keep on feeling I prefer the latter-day MacLane, the diary she wrote while convalescing from scarlet fever back home in Butte, Montana, I, Mary MacLane, that Melville House is only publishing as an ebook. Mary MacLane melancholy, totally isolated. Feeling intense disquiet. Now in her early thirties, meditating on her whirlwind celebrity, in cities, feeling distanced from all that, but longing for it too. Obsessed with the Mary MacLane who stopped writing, or stopped publishing books, who was involved with the anarchist/bohemian crowd in Chicago, with the Dill Pickle, who died in poverty and obscurity on the South Side at the age of 48. I want to write about her, but I don’t know how or why yet. ↗
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