A Quote by Gabrielle Roy
The main engagement of the writer is towards truthfulness; therefore he must keep his mind and his judgement free.
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The main engagement of the writer is towards truthfulness; therefore he must keep his mind and his judgment free.
Anything is one of a million paths. Therefore, a warrior must always keep in mind that a path is only a path; if he feels that he should not follow it, he must not stay with it under any conditions. His decision to keep on that path or to leave it must be free of fear or ambition. He must look at every path closely and deliberately. There is a question that a warrior has to ask, mandatorily: 'Does this path have a heart?'
God's will is that none should perish. Judgement isn't His desire ... but His necessity. The good must bring evil to an end, or else it would cease to be good. And yet His mercy is still greater than His judgement. His heart always wills for redemption. And therein lies the hope.
In the greatest fiction, the writer's moral sense coincides with his dramatic sense, and I see no way for it to do this unless his moral judgement is part of the very act of seeing, and he is free to use it. I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe. It is not a set of rules which fixes what he sees in the world. It affects his writing primarily by guaranteeing his respect for mystery.
Writing itself, if not misunderstood and abused, becomes a way of empowering the writing self. It converts anger and disappointment into deliberate and durable aggression, the writer's main source of energy. It converts sorrow and self-pity into empathy, the writer's main means of relating to otherness. Similarly, his wounded innocence turns into irony, his silliness into wit, his guilt into judgment, his oddness into originality, his perverseness into his stinger.
The Judo pupil, therefore, must cultivate his mind; he must never feel fear, never lose his temper, never be off his guard; but he must be cool and calm, though not absent-minded; he must act as quick as thought, according to circumstances. He must also be dexterous as well as bold both in attack and in defense.
This leads us to note down in our psychological chart of the mass-man of today two fundamental traits: the free expansion of his vital desires, and, therefore, of his personality; and his radical ingratitude towards all that has made possible the ease of his existence. These traits together make up the well-known psychology of the spoilt child.
She began now to comprehend that he was exactly the man who, in disposition and talents, would most suit her. His understanding and temper, though unlike her own, would have answered all her wishes. It was an union that must have been to the advantage of both: by her ease and liveliness, his mind might have been softened, his manners improved; and from his judgement, information, and knowledge of the world, she must have received benefit of greater importance.
Freedom conceives that the mind and spirit of man can be free only if he is free to pattern his own life, to develop his own talents, free to earn, to spend, to save, to acquire property as the security of his old age and his family.
Freedom conceives that the mind and spirit of man can be free only if he be free to pattern his own life, to develop his own talents, free to earn, to spend, to save, to acquire property as the security of his old age and his family.
Not even the King himself has the right to subordinate the interests of his country to his own feelings of love or hatred towards strangers; he is, however, responsible towards God and not to me if he does so, and therefore on this point I am silent.
The moral duty of the free writer is to begin his work at home: to be a critic of his own community, his own country, his own government, his own culture. The more freedom the writer possesses, the greater the moral obligation to play the role of critic.
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
By his very profession, a serious fiction writer is a vendor of the sensuous particulars of life, a perceiver and handler of things. His most valuable tools are his sense and his memory; what happens in his mind is primarily pictures.
Who aspires to remain leader must keep in advance of his column. His fear must not play traitor to his occasions. The instant he falls into line with his followers, a bolder spirit may throw himself at the head of the movement initiated, and in that moment his leadership is gone.
He took each fact as it came and let it slip painlessly into the back of his mind, thinking, Okay, okay, I'll think about that one later; and that one; and that one; so that the alert, front part of his mind could remain free enough to keep him in command of the situation.
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