Top 153 Quotes & Sayings by Colum McCann - Page 3

Stories are there to be told, and each story changes with the telling. Time changes them. Logic changes them. Grammar changes them. History changes them. Each story is shifted side-ways by each day that unfolds. Nothing ends. The only thing that matters, as Faulkner once put it, is the human heart in conflict with itself. At the heart of all this is the possibility, or desire, to create a piece of art that talks to the human instinct for recovery and joy.

One small cloud, cast out by the herd, limps away to the west.

And I suddenly think, as I look across the table at him, that these are the days as they will be. This is the future as we see it. The swerve and the static. The confidence and the doubt.

Even if you're going to die, you might as well die pretty.

Whatever you say, say nothing.

There are rocks deep enough in this earth that no matter what the rupture, they will never see the surface. There is, I think, a fear of love. There is a fear of love.

No shame in saying that I felt a loneliness drifting through me. Funny how it was, everyone perched in their own little world with the deep need to talk, each person with their own tale, beginning in some strange middle point, then trying so hard to tell it all, to have it all make sense, logical and final.

He felt for a moment uncreated. Another kind of awake.

Pain's nothing. Pain's what you give, not what you get.

One look at each other and it was immediately understood that they both needed a clean slate,,, The obliteration of memory.

I told him that I loved him and that I'd always love him and I felt like a child who throws a centavo into a fountain and then she has to tell someone her most extraordinary wish even though she knows that the wish should be kept secret and that, in telling it, she is quite probably losing it. He replied that I was not to worry, that the penny could come out of the fountain again and again and again.

He said to me once that most of the time people use the word love as just another way to show off they're hungry. The way he said it went something like: Glorify their appetites.

Whenever summer rolls around I begin to realize that I'm a complete and utter book snob. In relation to reading, I have absolutely no guilty pleasures at all. No graphic novels. No murder mysteries. My summer read is really no different from my winter read. I know many bookshops and magazines would have me believe that our summer forays are different, but literature is literature, and unfortunately snobbery is snobbery.

One of those out-of-the-ordinary days that made sense of the slew of ordinary days. New York had a way of doing that. Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief.

The city was bigger than its buildings, bigger than its inhabitants too. It had its own nuances. It accepted whatever came its way, the crime and the violence and the little shocks of good that crawled out from underneath the everyday.

He didn't like it all that much when he first came - all the rubbish and the rush - but it was growing on him, it wasn't half bad. Coming to the city was like entering a tunnel, he said, and finding to your surprise that the light at the end didn't matter; sometimes in fact the tunnel made the light tolerable.

I am of the opinion, and even more so the older I get, that it is more difficult to have hope than it is to despair. And I mean this in the sense that in order to have hope you must acknowledge the despair and then you have to get beyond it. Taken from a radio interview given on BBC Radio 4's Open Book

You can count the dead, but you can't count the cost. We've got no math for Heaven.

The Irish are great for their tunes, but all their lovesongs are sad and their warsongs happy.

I'm only telling you on the truth," he said. "If you can't stand the truth, don't ask for it.

That was the sort of everyday love I had to learn to contend with: if you grow up with it, it's hard to think you'll ever match it. I used to think it was difficult for children of folks who really loved each other, hard to get out from under that skin because sometimes it's just so comfortable you don't want to have to develop your own.

He told me once that there was no better faith than a wounded faith and sometimes I wonder if that is what he was doing all along --trying to wound his faith in order to test it--and I was just another stone in the way of his God.

...it was necessary to love silence, but before you could love silence you had to have noise.

It had never occurred to me before but everything in New York is built upon another thing, nothing is entirely by itself, each thing as strange as the last, and connected.

We stumble on, thinks Jaslyn, bring a little noise into the silence, find in others the ongoing of ourselves. It is almost enough.

Women get the short shrift in history. It's been largely written and dictated by men, or at least men believe that we own it, and women have really been in those quieter moments at the edge of history. But, really, they're the ones who are turning the cogs and the wheels and allowing things like the peace process to happen.

There are fewer and fewer Jews in Ireland, but we still have one of the most famous Jewish characters in literary history, of course, in Leopold Bloom.

I'm of the opinion that the real is imagined and the imagined is quite real. The real is imagined, in the sense that we shape our stories, so anything that even happens on the news gets shaped in a certain way and gets a texture, and that the imagined can be real.

Téa Obreht is the most thrilling literary discovery in years

Ultimately, you can only ever write what you know. It's logically and philosophically impossible to write what you don't know.

Personally, I like the social novel. I like writing that gets in and under the hood and looks about - at what's going on. But I don't say to any writer that that's absolutely what they should do.

I'm not so sure that I can teach people how to, you know, write dialogue or create plot or anything like that. But if I can get them and grab them by the scruff of the neck and say, you can do this, and if I see that fire in their eyes, that's when I think I know a writer.

I want the younger writer to know that she or he is meaningful, that what they have to say is powerful in this world. But they can't come indoors, they can't close the curtains, they can't, like, lock themselves away from the world and say nothing.