Top 86 Quotes & Sayings by Andrew Sean Greer - Page 2

I've wanted to be a writer since I was, like, 10.

Writing fiction is an act of imaginative empathy.

You can sort of start to write around 10. You also become a good reader around that time, and you want to imitate the thing that you love. I got praise for it, and then I found that it was a great way of translating my life, so I would write little stories and plays and things. At that point, it was kids' books that I was reading.

It's funny how the present can change the past.

'The Story Of A Marriage' was initially a short story I wrote, and before that, it was a family story. It was a story that a relative of mine told me about herself in the '50s, and it was a story that no one else in my family believes, and it might not be true.

When you were a little girl, Madam.....was this the woman you dreamed of becoming?

How hollow to have no secrets left; you shake yourself and nothing rattles. You're boneless as an anemone.

How remarkable we are in our ability to hide things from ourselves - our conscious minds only a small portion of our actual minds, jellyfish floating on a vast dark sea of knowing and deciding.

Here was a thing that would grow old; here was a thing that would turn beautiful and lose that beauty, that would inherit the grace but also the bad ear and flawed figure of her mother, that would smile too much and squint too often and spend the last decades of her life creaming away the wrinkles made in youth until she finally gave up and wore a collar of pears to hide a wattle; here was the ordinary sadness of the world.

It is a brave and stupid thing, a beautiful thing, to waste one's life for love.

When I meet a woman whose energy falters at the first barrier,she seems to fade beside my mother.

It may be a childish torment, but we do not get to choose our demons.

The possibilities. Is there any greater pain to know what could be, and yet be powerless to make it be?

Does love always form, like a pearl, around the hardened bits of life?

It takes too much imagination to see the sorrows of people we take for happy. Their real battles take place, like those of the stars, in some realm of light imperceptible to the human eye. It is a feat of the mind to guess another's heart.

For me, the historical and genealogical library is the one I use. I'm working on, I'll say, it's a time travel novel. I haven't written very much of it. That's the dirty secret of the Cullman center: The writers don't write their fiction there, they just do their research.

No one would have known, from how he held my hand, [that] over the years of heartache he had hatched a plot to change my life forever. He held his grip and would not let me go. I do not know what joins the parts of an atom, but it seems what binds one human to another is pain.

So tell me gentleman, tell me the time and place where it was easy to be a woman.

A lover exists only in fragments, a dozen or so if the romance is new, a thousand if we're married to him, and out of those fragments our heart constructs an entire person. What we each create, since whatever is missing is filled by our imagination, is the person we wish him to be. The less we know him, of course, the more we love him. And that's why we always remember that first rapturous night when he was a stranger, and why this rapture returns only when he's dead.

We are each the love of someone's life.

Perhaps love is a minor madness. And as with madness, it's unendurable alone. The one person who can relieve us is of course the sole person we cannot go to: the one we love. So instead we seek out allies, even among strangers and wives, fellow patients who, if they can't touch the edge of our particular sorrow, have felt something that cuts nearly as deep.

Surely words are just the background music when passion pounces on a soul.

Some things are so impossible, so fantastic, that when they happen, you are not at all surprised. Their sheer impossibility has made you imagine them too many times in your head, and when you find yourself on that longed-for moonlit path, it seems unreal but still, somehow, familiar. You dreamed of it, of course; you know it like a memory.

I love going to writers' colonies in pastoral settings where there's nothing to do, but either walk around or read a book or work on your book.

Here is a writer possessing the greatest talent: that of fully inhabiting the lives of others. Spargo conjures up these two as no one has done before. Scott and Zelda become, in Spargo's remarkable novel, not people of history but of literature, and reminders of what we fight for, what we fail to win, and the beauty that abides between. A marvel of a book.

Despite all their fears, we ask very little of the ones who never loved us. We do not ask for sympathy or pain or compassion. We simply want to know why.