Top 83 Quotes & Sayings by Guy Gavriel Kay
Explore popular quotes and sayings by a Canadian author Guy Gavriel Kay.
Last updated on December 21, 2024.
When I was 18 years old, in a more innocent time, my first backpacking trip through Europe, I sneaked into the Temple of Saturn in the Roman Forum after nightfall and spent several hours in there avoiding the guards patrolling.
I say 'as it were' or 'so to speak' too often because puns and double entendres keep insinuating themselves into my consciousness as I'm talking.
The poems were the only thing I wrote that was not for everyone else. Then my editors at Penguin, who were also friends and had seen several of them, aggressively urged me to do a book. Editors can be aggressive, especially after drinks. That's how 'Beyond This Dark House' appeared.
I ruefully admit that if the cat is asleep in my chair - which she regards as hers, of course - I tend to leave her there and take the other one.
Do we value privacy in any real way? Thinking about blogs, Twitter, Facebook, MySpace... all these suggest we value exposure rather more. And instead of challenging this transformation, as they are supposed to - certainly at the more thoughtful edges of the art - novelists are buying into it wholesale.
I'm still proud of the 'Fionavar Tapestry.' The fact I don't write the same way is as much as anything else the fact a man in his 50s doesn't write the way a man in his 20s does - or he shouldn't.
Liu Fang is a truly gifted, world-famous player of the pipa and the guzheng, classical Chinese stringed instruments.
I never answer, because I can't, which is my favorite among my own books.
I've spent my whole literary career blurring boundaries between genres and categories.
Fantasy is more than an escape from the truths of the world and the past: it is an open acknowledgment that those truths are complex and morally difficult. It offers a different route to creating something which will resonate with readers, in a way which resists the erasure of privacy and autonomy which pervades our modern world.
After a while, you start to realize that you should write a book you would want to read. I try to write a book I would enjoy.
There's a level at which, if you take poetry seriously, the focus it involves... that never goes away.
Everything you have ever heard about the strangeness of Hollywood is true!
I grew up in a bookish family, so I read very widely. I was omnivorous, really.
Writing is never, ever easy but I wake up every morning grateful for the gift of being able to do this.
I spent many years writing and directing in radio drama, so I am comfortable with an audience or a microphone, but I do worry about the blurring of an author's public persona with the work itself. A good 'performer' can make a mediocre book sound strong, and a shy author can leave listeners missing the excellence of his or her writing.
In general, the main themes emerge early for each book, even before the storyline and characters, as I research the time and place I want to draw upon. Having said that, every single book so far has offered me surprises en route, and these include motifs that come forward as I am writing.
My privacy concerns have to do with the world, other people, technology intruding upon us - what Talmudic scholars once called 'the unwanted gaze.' Here I see major issues and concerns as society evolves, and I've written often on the subject.
I'm happier not pretending I know anything about El Cid in Spain. He's a Spanish national hero. I'd rather invent a character inspired by him but clearly not identical to him. And then I feel liberated creatively.
As many have noted, the peril for authors is that our work space is too easily our play space.
Significant consequences can begin very inconsequentially. That's one thing that fascinates me. The other thing that fascinates me is how accident can undermine something that's unfolding, something that might have played out differently otherwise.
Even if we remember the past, odds are good we'll still repeat it.
We are all shaped by where we grow up, though that shaping takes different forms. I don't think there's any doubt that coming of age in Winnipeg both opened my eyes and made me hungry - if I can subvert all claims to be a real writer by mixing metaphors like that.
I have always argued, in a good novel, interesting things happen to interesting people.
I had been obsessed with the Arthurian legends all my life, and I knew that that would work its way into any trilogy I wrote. I was fascinated by the Eddas, the Norse and Icelandic legends, Odin on the world tree.
The very best way I can make any reader believe in the nuts and bolts of an art form... is to know the mechanics, to make the characters grounded in convincing detail.
It's worth being suspicious of writers - or anyone! - who does that myth-making thing. There's always a tendency to retrospectively impose structures on a life. Life as it's lived has a far more complex shape.
I want readers turning pages until three o'clock in the morning. I want the themes of books to stick around for a reader. I'm always trying to find a way to balance characters and theme.
I don't know a writer who doesn't feel some sense of glamour and magic and a complex, wistful sadness emanating from the expats of the twenties in France. Some of the sadness, of course, is that we weren't there.
I never talk about books in progress. I could decide to change it to a series of seafood recipes, after all.
When I am reading for research and making notes, I use a cleverly designed curved lap-desk, and I sit up dutifully, mindful of ergonomics and suchlike concepts. When reading for pleasure, I take advantage of the 'recline' in recliner.
When we work with history, to a very great degree we are all guessing. But by using motifs of time and history in a fantasy setting, we are acknowledging that this educated guesswork, invention, fantasy underlie our treatment of the past and its peoples - and we are not claiming a right to do with them as we will.
I don't plan ahead; each book finds me. History itself, the resonance of the past with the present, is the common denominator in all of them.
Dave hung up. And unplugged the phone. With a fierce and bitter pain he stared at it, watching how, over and over again, it didn't ring.
She was owner and captive, both, of a bitterly divided heart.
... everyone knew that all islands were worlds unto themselves, that to come to an island was to come to another world.
Weariness, sometimes more than anything else, can bring an end to war.
A hand fought best when it made a fist.
The world could bring you poison in a jewelled cup, or surprising gifts. Sometimes you didn't know which of them it was.
One didn't stop to talk with creatures from one's nightmares.
We must be what we are, or we become our enemies.
By things so achingly small are lives measured and marred.
It is always difficult, even with the best will in the world, to look back a long way and see anything resembling the truth.
We are the total of our longings.
We worship…the powers that speak to our souls, if it seems they do. We do so knowing there is more to the world, and the half-world, and perhaps worlds beyond, than we can grasp. We always knew that. We can’t even stop children from dying, how would we presume to understand the truth of things? Behind things? Does the presence of one power deny another? [p. 176]
We salvage what we can, what truly matters to us, even at the gates of despair.
Fantasy is, at its best, the purest access to storytelling that we have. It universalizes a tale, it evokes wonder and timeless narrative power, it touches upon inner journeys, it illuminates our collective and individual pasts, throws a focus beam on the present day, and presages the dangers and promises of the future.
There are kinds of action, for good or ill, that lie so far outside the boundaries of normal behavior that they force us, in acknowledging that they have occurred, to restructure our own understanding of reality. We have to make room for them.
A hard truth: that courage can be without meaning or impact, need not be rewarded, or even known. The world has not been made in that way. Perhaps, however, within the self there might come a resonance, the awareness of having done something difficult, of having done . . . something.
She had been a solitary child, and then solitary as a woman, drawn into an orbit of her own that took her away from others, even those who would be her friends.
most hated by the dark, for their name is light.
Words were power, words tried to change you, to shape bridges of longing that no one could ever really cross.
In this world, where we find ourselves, we need compassion more than anything, I think, or we are all alone.
Why did becoming accustomed to something have to render its pleasures stale.
The heart has its own laws... and the truth is... the truth is that you are the law of mine.
There are no wrong turnings. Only paths we had not known we were meant to walk.
But if you couldn't do everything, did that mean you did nothing?
My youngest brother had a wonderful schtick from some time in high school, through to graduating medicine. He had a card in his wallet that read, ‘If I am found with amnesia, please give me the following books to read …’ And it listed half a dozen books where he longed to recapture that first glorious sense of needing to find out ‘what happens next’ … the feeling that keeps you up half the night. The feeling that comes before the plot’s been learned.
Lazy poets try to elicit a reader's response with words designed to tug at the heart.
How we remember changes how we have lived. Time runs both ways. We make stories of our lives.
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