A Quote by Michael Ondaatje

I see the poem or the novel ending with an open door. — © Michael Ondaatje
I see the poem or the novel ending with an open door.
The door of the novel, like the door of the poem, also shuts. But not so fast, nor with such manic, unanswerable finality.
The development of the plot of the novel leads to a single point, and it's my opinion that the ending that the novel has, which is a somewhat ambiguous ending, is the only logical ending given the structure of the book as a whole.
Where there is a will, there is a way. If there is a chance in a million that you can do something, anything, to keep what you want from ending, do it. Pry the door open or, if need be, wedge your foot in that door and keep it open.
Writing a novel is like knocking on a door that will never open. You are so desperate to get in, you will say or do anything. You feel: please take my novel.
When people keep repeating That you'll never fall in love When everybody keeps retreating But you can't seem to get enough Let my love open the door Let my love open the door Let my love open the door To your heart.
Let him treat you like a lady and open the car door for you. If he doesn't automatically open the door for you, stand by the darn thing and don't get into the vehicle until he realises he needs to get hid behind out of the driver's seat and come round and open the car door for you. That's his job!
Any true wizard, faced with a sign like 'Do not open this door. Really. We mean it. We're not kidding. Opening this door will mean the end of the universe,' would automatically open the door in order to see what all the fuss is about. This made signs rather a waste of time, but at least it meant that when you handed what was left of the wizard to his grieving relatives you could say, as they grasped the jar, 'We told him not to."
If you see a door to happiness, do not waste your time knocking it, just open the door and walk in!
The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.
I’ve written this poem before but always through a window, never through an open door.
I remember when James Wan and I did the first 'Saw' movie, a lot of people would say to us, 'Well, you left the door open for a sequel.' And we would say, 'No, we literally closed the door!' We thought it was a nice ending. Little did we know that the producers had other ideas once the film was a hit.
I'm like, OK, God, if there is an open door for me somewhere, this is what I always pray, I'm like, don't let me miss the open door. Show me where the open door is.
I do, indeed, close my door at times and surrender myself to a book, but only because I can open the door again and see a human face looking at me.
I always rewrite the very beginning of a novel. I rewrite the beginning as I write the ending, so I may spend part of morning writing the ending, the last 100 pages approximately, and then part of the morning revising the beginning. So the style of the novel has a consistency.
By the mercy of Allah Paradise has eight doors one of those is the door of repentance, child. All the others are sometimes open, sometimes shut, but the door of repentance is never closed. Come seize the opportunity: the door is open; carry your baggage there at once.
I like to think of myself as a leader whose door is always open. But I recently learned that an open door isn't enough.
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