A Quote by Hannah Kent
Most writers are drawn to what is unknown, rather than what is clear in any tale.
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I'm drawn to people rather than mediums - directors, writers, actors.
The late British-born philosopher Alan Watts, in one of his wonderful lectures on eastern philosophy, used this analogy: "If I draw a circle, most people, when asked what I have drawn, will say I have drawn a circle or a disc, or a ball. Very few people will say I've drawn a hole in the wall, because most people think of the inside first, rather than thinking of the outside. But actually these two sides go together--you cannot have what is 'in here' unless you have what is out there.' " In other words, where we are is vital to who we are.
It's still true that literary works by women, gays, and writers of color are often framed as specific, rather than universal, small rather than big, personal or particular rather than socially significant.
All great writers have, of course, an atmosphere in which they seem most at their ease and at their best; a mood of the general mind which they interpret and indeed almost discover, so that we come to read them rather for that than for any story or character or scene of seperate excellence.
In England, more than in any other country, science is felt rather than thought. ... A defect of the English is their almost complete lack of systematic thinking. Science to them consists of a number of successful raids into the unknown.
I feel like the writers that I'm drawn to, the writers that I really cling to, are the writers who seem to be writing out of a desperate act. It's like their writing is part of a survival kit. Those are the writers that I just absolutely cherish and carry with me everywhere I go.
What makes revolutionary thought unique is its clarity and dignity, and its clear grasp of freedom and justice: simple, clear words that are understood without the need for any help from elite writers or thinkers.
But I'd rather help than watch. I'd rather have a heart than a mind. I'd rather expose too much than too little. I'd rather say hello to strangers than be afraid of them. I would rather know all this about myself than have more money than I need. I'd rather have something to love than a way to impress you.
I think that most of us [writers] would rather have an audience than countless riches. If we wanted to be rich, we'd be doing smething else.
Be persecuted, rather than be a persecutor. Be crucified, rather than be a crucifier. Be treated unjustly, rather than treat anyone unjustly. Be oppressed, rather than be an oppressor. Be gentle rather than zealous. Lay hold of goodness, rather than justice.
Of course, in fairness, I must remind you of this: that we writers are the most lily-livered of all craftsmen. We expect more, for the most peewee efforts, than any other people.
I know a lot of crime writers feel very underrated, like they're not taken seriously, and they want to be just thought of as writers rather than ghettoised as crime writers, but I love being thought of firmly as a crime writer.
It just seems clear to me that as long as we are all here, it's pretty clear that the struggle is to share the planet, rather than divide it.
I always ask young writers, 'Are you certain you want to be a writer? If you're absolutely sure, then do it.' If you really want to write, writing has to take precedence over everything else, except for taking care of your loved ones. It has to be more important than any possession, more important than fame. We hear about just a few writers who get famous, but most of them don't. It's got to mean more than that.
After thee accumulation of too much history we have lost our innocence, we cannot easily believe in any explanations. We describe rather than feel, we touch rather than explore, we lust rather than adore.
Most writers tend to get worse rather than better. I'm determined to be one that gets better.
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