When you love someone all your saved up wishes start coming out.
Some people are molded by their admirations, others by their hostilities.
In 'real life' everything is diluted; in the novel everything is condensed.
Silences can be as different as sounds.
Nobody speaks the truth when there's something they must have.
Mr. [Aldous] Huxley has been the alarming young man for a long time, a sort of perpetual clever nephew who can be relied on to flutter the lunch party. Whatever will he say next? How does he think of those things? He has been deplored once or twice, but feeling is in his favor: he is steadily read. He is at once the truly clever person and the stupid person's idea of the clever person; he is expected to be relentless, to administer intellectual shocks.
life is a succession of readjustments.
We are minor in everything but our passions.
It is not helpful to help a friend by putting coins in his pockets when he has got holes in his pockets.
one should discuss one's difficulties only when they are over.
If you look at life one way, there is always cause for alarm.
But to be quite oneself one must first waste a little time.
The writer, like a swimmer caught by an undertow, is borne in an unexpected direction. He is carried to a subject which has awaited him--a subject sometimes no part of his conscious plan. Reality, the reality of sensation, has accumulated where it was least sought. To write is to be captured--captured by some experience to which one may have given hardly a thought.
Nothing can happen nowhere. The locale of the happening always colours the happening, and often, to a degree, shapes it.
I think the main thing, don't you, is to keep the show on the road.
The novel does not simply recount experience, it adds to experience.
Chance is better than choice; it is more lordly. Chance is God, choice is man.
Fate is not an eagle, it creeps like a rat.
Illusions are art, for the feeling person, and it is by art that we live, if we do.
nothing is more restful than conformity.
memory is to love what the saucer is to the cup.
The short story is at an advantage over the novel, and can claim its nearer kinship to poetry, because it must be more concentrated, can be more visionary, and is not weighed down (as the novel is bound to be) by facts, explanation, or analysis. I do not mean to say that the short story is by any means exempt from the laws of narrative: it must observe them, but on its own terms.
Proust has pointed out that the predisposition to love creates its own objects; is this not also true of fear?
One can live in the shadow of an idea without grasping it.
Roughly, the action of a character should be unpredictable before it has been shown, inevitable when it has been shown. In the first half of a novel, the unpredictability should be the more striking. In the second half, the inevitability should be the more striking.
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