A Quote by Joyce Carol Oates
For obviously the advantage for most writers is that no one sees them. The writer is invisible, which confers power.
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Every individual is continually exerting himself to find out the most advantageous employment for whatever capital he can command. It is his own advantage, indeed, and not that of the society which he has in view. But the study of his own advantage naturally, or rather necessarily, leads him to prefer that employment which is most advantageous to society... He intends only his own gain, and he is in this, as in many other cases, led by an invisible hand to promote an end which was not part of his intention
It feels as though a very disproportionate number of main characters are writers, because that's what the writer knows. Fair enough. But nothing bothers me more in a movie than an actor playing a writer, and you just know he's not a writer. Writers recognize other writers. Ethan Hawke is too hot to be a writer.
Writers are great lovers. They fall in love with other writers. That's how they learn to write. They take on a writer, read everything by him or her, read it over again until they understand how the writer moves, pauses, and sees. That's what being a lover is: stepping out of yourself, stepping into someone else's skin.
The writers I care about most and never grow tired of are: Shakespeare, Swift, Fielding, Dickens, Charles Reade, Flaubert and, among modern writers, James Joyce, T. S. Eliot and D. H. Lawrence. But I believe the modern writer who has influenced me most is Somerset Maugham, whom I admire immensely for his power of telling a story straightforwardly and without frills.
There were always men looking for jobs in America. There were always all these usable bodies. And I wanted to be a writer. Almost everybody was a writer. Not everybody thought they could be a dentist or an automobile mechanic but everybody knew they could be a writer. Of those fifty guys in the room, probably fifteen of them thought they were writers. Almost everybody used words and could write them down, i.e., almost everybody could be a writer. But most men, fortunately, aren't writers, or even cab drivers, and some men - many men - unfortunately aren't anything.
There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
Nursing may be the oldest art, but in the contemporary world, it is also one of the most invisible. One of the most invisible arts, sciences, and certainly one of the most invisible parts of our health care system.
It's OK just to be a writer, who writes about the society in which he lives and the issues that most important. Now how can that not be a writer, it always was. It's just recently that writers have been reduced to these playthings of the market.
The people who review my books, generally, are kind of youngish culture writers who aspire to write books. When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.
What helps writers, and ultimately, obviously, helps the actors - who should serve the words that the writer puts on the page - is if the character has damages, because then the writers can cultivate and excavate, like a dentist going into a tooth.
That's one thing I like about Hollywood. The writer is there revealed in his ultimate corruption. He asks no praise, because his praise comes to him in the form of a salary check. In Hollywood the average writer is not young, not honest, not brave, and a bit overdressed. But he is darn good company, which book writers as a rule are not. He is better than what he writes. Most book writers are not as good.
Envy is the most universal passion. We only pride ourselves on the qualities we possess, or think we possess; but we envy the pretensions we have, and those which we have not, and do not even wish for. We envy the greatest qualities and every trifling advantage. We envy the most ridiculous appearance or affectation of superiority. We envy folly and conceit; nay, we go so far as to envy whatever confers distinction of notoriety, even vice and infamy.
As every writer knows... there is something mysterious about the writer's ability, on any given day, to write. When the juices are flowing, or the writer is 'hot', an invisible wall seems to fall away, and the writer moves easily and surely from one kind of reality to another... Every writer has experienced at least moments of this strange, magical state. Reading student fiction one can spot at once where the power turns on and where it turns off, where the writer writes from 'inspiration' or deep, flowing vision, and where he had to struggle along on mere intellect.
Just because something is invisible doesn't mean it isn't there. At any given time, there are a host of invisibles floating among us. There are clairvoyants to see ghosts; but who sees the invisible emotions, the unrecorded events? Who is that sees love, more evanescent than any ghost, let alone can catch it? Who are you tell me that I don't know what love is?
I know of three ways to recognize another writer: Writers are shamelessly nosy. Writers tell good stories, even about dumb old, daily things. On most writers, the earmarks of thrift, if not outright povery, are evident.
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