I didn't think; I experimented.
Death comes along like a gas bill one can't pay.
The ideal reader of my novels is a lapsed Catholic and failed musician, short-sighted, colour-blind, auditorily biased, who has read the books that I have read.
If you write fiction you are, in a sense, corrupted. There's a tremendous corruptibility for the fiction writer because you're dealing mainly with sex and violence. These remain the basic themes, they're the basic themes of Shakespeare whether you like it or not.
I chart a little first-list of names, rough synopsis of chapters, and so on. But one daren't overplan; so many things are generated by the sheer act of writing.
Hitler was a teetotalitarian.
There is a satisfactory boniness about grammar which the flesh of sheer vocabulary requires before it can become a vertebrate and walk the earth.
A man can write one book that can be great, but this doesn't make him a great writer-just the writer of a great book. . . I think a writer has to extend very widely, as well as plunge very deep, to be a great novelist.
Elgar is not manic enough to be Russian, not witty or pointilliste enough to be French, not harmonically simple enough to be Italian and not stodgy enough to be German. We arrive at his Englishry by pure elimination.
For no man is damned precisely because God hath not chosen him, because he is not elected, but because he is a sinner, and doth wilfully refuse the means of grace offered.
Literature is all, or mostly, about sex.
I wrote much because I was paid little. I had no great desire to leave a literary name behind me.
Writers are rarely their own best critics, nor are critics.
But don't think that it's a system or a culture or a state or a person that does the letting down. It's our expectations that let us down. It begins in the warmth of the womb and the discovery that it's cold outside. But it's not the cold's fault that it's cold.
If you believe in an unseen Christ, you will believe in the unseen Christlike potential of others.
A work of fiction should be, for its author, a journey into the unknown, and the prose should convey the difficulties of the journey.
A character, to be acceptable as more than a chess piece, has to be ignorant of the future, unsure about the past, and not at all sure of what he's supposed to be doing.
...the essential intention is the real sin. A man who cannot choose ceases to be a man.
The not-self cannot have the bad, meaning they of the government and the judges and the schools cannot allow the bad because they cannot allow the self.
As a chamber hung round about with looking-glasses represents the face upon every turn, thus all the world doth the mercy and the bounty of God; though that be visible, yet it discovers an invisible God and his invisible properties.
The writer's life seethes within but not without.
Where do I come into all of this? Am I just some animal or dog?' And that started them off govoreeting real loud and throwing slovos at me. So I creeched louder still, creeching: 'Am I just to be like a clockwork orange?
That so many writers have been prepared to accept a kind of martyrdom is the best tribute that flesh can pay to the living spirit of man as expressed in his literature. One cannot doubt that the martyrdom will continue to be gladly embraced. To some of us, the wresting of beauty out of language is the only thing in the world that matters.
I see what is right and approve, but I do what is wrong.
What critics often ask for is the impossible, though this may be a salutary means of extending the borders of art.
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