A Quote by M. John Harrison
Dreamworlds can maintain themselves only as glimpses. Once the writer transports the reader across the threshold, nothing that was promised can be delivered. What was ominous becomes ordinary; what was bizarre, quotidian. Unless you simply keep upping the ante, piling on the bullshit, the only way to revive things is to switch perspectives as quickly as you can.
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I always switch off from the business when I go across the threshold. Home is home, and I try to keep it that way.
I want to remember what bullshit looks like when weapons of mass destruction are diagrammed out and whacko "intelligence" is delivered in an ominous way to strike fear into people and especially to pull on the idealism and zeal of the young.
How often I have tried to tell writing students that the first thing a writer must do is love the reader and wish the reader well. The writer must trust the reader to be at least as intelligent as he is. Only in such well wishing and trust, only when the writer feels he is writing a letter to a good friend, only then will the magic happen.
There are two kinds of sculptures. There's the kind that subtracts: Michelangelo starts with a block of marble and chips away. And then there is the kind that adds, building with clay, piling it on. The way I write novels is to keep piling on and piling on and piling on.
Devotion {to the spiritual master} becomes the purest, quickest, and simplest way to realize the nature of our mind and all things. As we progress in it, the process reveals itself as wonderfully interdependent: We, from our side, try continually to generate devotion; the devotion we arouse itself generates glimpses of the nature of mind, and these glimpses only enhance and deepen our devotion to the master who is inspiring us. So in the end devotion springs out of wisdom: devotion and the living experience of the nature of mind becomes inseparable, and inspire one another.
Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.
I think that reading is always active. As a writer, you can only go so far; the reader meets you halfway, bringing his or her own experience to bear on everything you've written. What I mean is that it is not only the writer's memory that filters experience, but the reader's as well.
Who is there with you?" "Raphael" Kate's voice snapped. "I'll be in Atlanta in three hours. Where are you?" "I said it's nothing major." "Bullshit. You wouldn't work with Raphael unless the Apocalypse was imminent and that was the only way to prevent it.
If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
I would imagine that anyone picking up a book written by me would expect a fast-paced story that requires minimal effort to turn the pages. The reader would also be looking for some out-of-the-ordinary revelations along the way. At the end of the day, I'm a writer who simply loves revealing stuff that is out-of-the-ordinary.
Naturally, since I myself am a writer, I do not wish the ordinary reader to read no modern books. But if he must read only the new or only the old, I would advise him to read the old.
I'm not a writer who thinks about writing only for themselves; I do always have a reader in mind.
In that way, any world you create will become real. The reader makes it so. The reader becomes implicated in the creation of the world, complicit with the writer. It's the best sort of bond with audience that a writer can hope for, but it demands a great deal of trust on both sides.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
Some things lend themselves well to songs, some things don't, and I'm learning that a lot at the moment. It's still a relatively new way of writing. It's only really the last five to 10 years that I've taken my writing seriously in this way, as something I can keep working toward. I think I feel myself much more before as simply a songwriter.
Probably all of us, writers and readers alike, set out into exile, or at least into a certain kind of exile, when we leave childhood behind...The immigrant, the nomad, the traveler, the sleepwalker all exist, but not the exile, since every writer becomes an exile simply by venturing into literature, and every reader becomes an exile simply by opening a book.
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