A Quote by Julio Cortazar
The short-story writer knows that he can't proceed cumulatively, that time is not his ally. His only solution is to work vertically, heading up or down in literary space.
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Fright is something one can never get over. When a warrior is caught in such a tight spot he would simply turn his back to the ally without thinking twice. A warrior cannot indulge thus he cannot die of fright. A warrior allows the ally to come only when he is good and ready. When he is strong enough to grapple with the ally he opens up his gap and lurches out, grabs the ally, keeps him pinned down and maintains his stare on him for exactly the time he has to, then he moves his eyes away and releases the ally and lets him go. A warrior, my little friend, is the master at all times
Detach the writer from the milieu where he has experienced his greatest sense of belonging, and you have created a discontinuity within his personality, a short circuit in his identity. The result is his originality, his creativity comes to an end. He becomes the one-book novelist or the one-trilogy writer.
For so long as the Jew has even one ally, he will be convinced - in his smallness of mind - that his salvation came from that ally. It is only when he is alone - against all of his own efforts and frantic attempts - that he will, through no choice, be compelled to turn to G-d.
I cannot stand Tolstoy, and reading him was the most boring literary duty I ever had to perform, his philosophy and his sense of life are not merely mistaken, but evil, and yet, from a purely literary viewpoint, on his own terms, I have to evaluate him as a good writer.
Here's a strange fact: murder a man, and you feel responsible for his life - ''possessive'', even. You know more about him than his father and mother; they knew his fetus, but you know his corpse. Only you can complete the story of his life, only you know why his body has to be pushed into the fire before its time, and why his toes curl up and fight for another hour on earth.
The artist alone among men knows what true humility means. His reach forever exceeds his grasp. He can never be satisfied with his work. He knows when he has done well, but he knows he has never attained his dream. He knows he never can.
A warrior knows that he is only a man. His only regret is that his life is so short that he can't grab onto all the things he would like to. But for him, this is not an issue; it's only a pity.
Children, only animals live entirely in the Here and Now. Only nature knows neither memory nor history. But man - let me offer you a definition - is the storytelling animal. Wherever he goes he wants to leave behind not a chaotic wake, not an empty space, but the comforting marker-buoys and trail-signs of stories. He has to go on telling stories. He has to keep on making them up. As long as there's a story, it's all right. Even in his last moments, it's said, in the split second of a fatal fall - or when he's about to drown - he sees, passing rapidly before him, the story of his whole life.
A few hours after the news broke about the death of crime writer Donald E. Westlake, a newspaper asked me to write a tribute. In short order I did so, calling attention to his decades-long career, both under his own name and that of his primary alter ego, Richard Stark, who introduced the unsentimental antihero-heister Parker to the literary canon.
The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him
The writer can only explore the inner space of his characters by perceptively navigating his own.
For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.
We expect him to take up a lot of space in his gangly experiments with life, and we teach him, through task, work, game, activity, and experience how to use that space. Above all, we give him mentoring and supervision that respects and teaches his gifts, his visions, even his shadowy inner demons
Man was made to lead with his chin; he is worth knowing only with his guard down, his head up and his heart rampant on his sleeve.
A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which.
Every few seconds a new book sees the light of day. Most of them will just be a part of the hum that makes us hard of hearing. Even the book is becoming an instrument of forgetting. A truly literary work comes into being as its creator's cry of protest against the forgetting that looms over him, over his predecessors and his contemporaries alike, and over his time, and the language he speaks. A literary work is something that defies death.
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