A Quote by Leonard Woolf

At the best and even unexpurgated, diaries give a distorted or one-sided portrait of the writer. — © Leonard Woolf
At the best and even unexpurgated, diaries give a distorted or one-sided portrait of the writer.
We prefer to go deformed and distorted all our lives rather than not resemble the portrait of ourselves which we ourselves have first drawn. It’s absurd. We run the risk of warping what’s best in us
A writer must be fearless. A writer has to be like a clawed animal." -The Carrie Diaries pg. 337
I had been elected to the National Academy of Design in New York, and one of the requirements was that you give a portrait, a self-portrait of yourself.
I've always felt the portrait is an occasion for marks to happen. I've never viewed the portrait as about the sitter. Even when I go to the National Portrait Gallery, I'm not thinking about the sitter; I'm thinking about how the artist chose that color or that highlight. It becomes about the time, place, and context.
I don't think it's the writer's job to give answers or to give opinions. In fact, when a writer has answers, I think the work ends up being corrupted. It becomes didactic. What a book does is share a consciousness and invite people to explore the questions as best as you can.
And if [Vladimir Putin] does fight ISIL alone, how does it work out for Russia to have sided with Assad, sided with Iran, sided with Hizballah, when they're trying to reach out to the rest of the Sunni world in the region? That's not a good equation for Russia.
A handwritten letter carries a lot of risk. It's a one-sided conversation that reveals the truth of the writer. Furthermore, the writer is not there to see the reaction of the person he writes to, so there's a great unknown to the process that requires a leap of faith. The writer has to choose the right words to express his sentences, and then, once he has sealed the envelope, he has to place those thoughts in the hands of someone else, trusting that the feelings will be delivered, and that the recipient will understand the writer's intent. How childish to think that could be easy.
Sometimes small incidents, rather than glorious exploits, give us the best evidence of character. So, as portrait painters are more exact in doing the face, where the character is revealed, than the rest of the body, I must be allowed to give my more particular attention to the marks of the souls of men.
Our whole educational problem suffers from a one-sided approach to the child who is to be educated, and from an equally one-sided lack of emphasis on the uneducatedness of the educator.
The best advice that an accomplished writer could give a beginning writer is probably, "Find your slide and then grease it." Almost every writer that wants a rewarding career, in terms of money and status and number of readers, finally finds a certain genre or certain style that he or she sticks with until reaching a critical mass of readership. And I've violated this from the get-go.
But I give best when I give from that deeper place; when I give simply, freely and generously, and sometimes for no particular reason. I give best when I give from my heart.
What better portrait of a writer than to show a man who has been bewitched by books?
Originally, poetry creates the myth, while the prose-writer draws its portrait.
The longer we view ourselves through a distorted lens, the more likely we are to believe a distorted truth.
The things we always disengage with are one-sided stories or one-sided characters. They're very boring. When you feel like you're being hit over the head, you disengage.
I think the most useful thing you can do as a writer is to reconstruct real life with all its color, hardship, joy, and intrigue. If you're interested in people, you honor them best, I think, by making the fullest possible picture of them. Your subjects may - and from my experience probably will - protest your portrait of them.
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