A Quote by Hart Crane
And inasmuch as the bridge is a symbol of all such poetry as I am interested in writing it is my present fancy that a year from now I'll be more contented working in an office than ever before.
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I prefer reading novels. Short stories are too much like daggers. And now that I'm done with my collection I'm more interested in different forms of writing and other kinds of narrative art. I'm working on a screenplay. But when I was working on Eileen, I definitely felt like I was taking a piss. Like, here I am, typing on my computer, writing the "novel." It wasn't that it was insincere, but there was a kind of farcical feeling I had when I was writing.
The process of writing a book is infinitely more important than the book that is completed as a result of the writing, let alone the success or failure that book may have after it is written . . . the book is merely a symbol of the writing. In writing the book, I am living. I am growing. I am tapping myself. I am changing. The process is the product.
And yet, strange to say, now that this truth is recognized by most cultivated people — now that the beneficent working of the survival of the fittest has been so impressed on them that, much more than people in past times, they might be expected to hesitate before neutralizing its action — now more than ever before in the history of the world, are they doing all they can to further survival of the unfittest!
I am not a historian, but I find myself being more and more fascinated by history and now I find myself reading more and more about history. I am very interested in Napoleon, at the present: I'm very interested in battles, in wars, in Gallipoli, the First World War and so on, and I think that as I age I am becoming more and more historical. I certainly wasn't at all in my early twenties.
You always feel the drawing you are working on is the best you've ever done... I am only interested in the present.
When I devoted myself to poetry - and poetry is a very serious medium - I don't think the people that knew me as an individual with that tongue-in-cheek kind of humor...well, it didn't always lend itself to my poetry. When you're writing poetry, it's like working with gold, you can't waste anything. You have to be very economical with each word you're going to select. But when you're writing fiction, you can just go on and on; you can be more playful. My editor's main task is to cut back, not ask for more.
I approach writing a poem in a much different state than when I am writing prose. It's almost as if I were working in a different language when I'm writing poetry. The words - what they are and what they can become - the possibilities of the words are vastly expanded for me when I'm writing a poem.
With all my work, I have not more, with my shares in the bank and the Academy, than twelve or thirteen thousand reales a year, and with all this, I am as contented as the happiest man on earth.
In school, the year was the marker. Fifth grade. Senior year of high school. Sophomore year of college. Then after, the jobs were the marker. That office. This desk. But now that school is over and I've been working at the same place in the same office at the same desk for longer than I can truly believe, I realize: You have become the marker. This is your era. And it's only if it goes on and on that will have to look for other ways to identify the time.
Everything was for tomorrow, but tomorrow never came. The present was only a bridge and on this bridge they are still groaning, as the world groans, and not one idiot ever thinks of blowing up the bridge.
I know well enough that very few people who are supposedly interested in writing are interested in writing well. They are interested in publishing something, and if possible in making a "killing." They are interested in being a writer not in writing. . . If this is what you are interested in, I am not going to be much use to you.
I don't like to dwell on the past. I'm interested in Fischerandom now, I am working on a new clock, I'm trying to make chess a more exciting game today. I am not interested in sitting in my rocking chair thinking what I did 10, 20 or 30 years ago.
Since I turned 50, I've had the best year of my life and I now throw as much effort into the social side of my life as I do work - more so now than ever before.
I'm more contented and at peace with myself now than I was as a box-office queen. I'm less uptight. I've even reached a stage where it doesn't shatter me if somebody prints something bad about me.
As I look back on my first year as Director, I am more in awe of the men and women at CIA than ever before.
I am not married to any particular genre. I am more interested in projects that capture my imagination and move me in a way that I can spend a year of my life working on it.
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