A Quote by Katherine Paterson

A great novel is a kind of conversion experience. We come away from it changed. — © Katherine Paterson
A great novel is a kind of conversion experience. We come away from it changed.
When you go after someone who has a deep ideological belief set that is contradictory with your own, it's conversion. Conversion is hard. Conversion is miraculous. We have entire religions built around the idea of conversion. Politics is not a religion. Politics is about persuasion.
But it also became the experience, or was the experience, of the writers who were attracted to this kind of humor. They're all men or women who come from the same kind of experience in their own lives.
In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have changed a little... But it's very hard to say just what we learned, how we were changed.
Did a Magdalene, a Paul, a Constantine, an Augustine become mountains of ice after their conversion? Quite the contrary. We should never have had these prodigies of conversion and marvelous holiness if they had not changed the flames of human passion into volcanoes of immense love of God.
I think Melbourne is by far and away the most interesting place in Australia, and I thought if I ever wrote a novel or crime novel of any kind, I had to set it here.
I have great assurance when I study my own conversion, when I discuss it with other men, when I look over the 25 years of my pilgrimmage with Christ; I have great assurance of having come to know Him. But even now, if I were to depart from the faith and walk away and keep going in that direction into heresy and worldiness, it could be the greatest of proofs that I never knew Him, that the whole thing was a work of the flesh.
A novel is not an allegory.... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.
Come away with in the night Come away with me And I will sing you a song Come away with me on a bus Come away where they can't tempt us With there lies I want to walk with you On a cloudy day In fields where the yellow grass grows Knee-high So won't you try to come Come away with me and we'll kiss On a mountain top Come away with me And I'll never stop loving you And I want to wake up with the rain Falling on a tin roof While I'm safe there in your arms So all I ask is for you To come away with me in the night Come away with me.
Breaking Away' was a great experience. It's the kind of movie that engenders a lot of goodwill from people.
'Breaking Away' was a great experience. It's the kind of movie that engenders a lot of goodwill from people.
I can go into the wilderness and not see anyone for days and experience a kind of space that hasn't changed for tens of thousands of years. Having that experience was necessary to my perception of how photography can look at the changes humanity has brought about in the landscape. My work does become a kind of lament.
I prayed fifteen years for the conversion of my oldest brother. When he seemed to be getting further and further away from any hope of conversion, I prayed on.
Living a spiritual life requires a change of heart, a conversion. Such a conversion may be marked by a sudden inner change, or it can take place through a long, quiet process of transformation. But it always involves an inner experience of oneness.
I prefer a great novel, but many novels come with a bunch of novel-y writerliness that feels sort of macho to me, so I do end up reading lots of shorter things.
I do make conversion, if conversion means really turning people to God - to have a clean heart and to love God. That's the real conversion.
I think what happens to young writers is that they use up every life experience that they have had up to that point for their first novel. Then you have to come up with something for the second novel, but you really don't have anything to say.
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