A Quote by Robert E. Howard
One objection I have heard voiced to works of this kind?dealing with Texas?is the amount of gore spilled across the pages. It can not be otherwise. In order to write a realistic and true history of any part of the Southwest, one must narrate such things, even at the risk of monotony.
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Here is what we know after more than a decade of Republican rule: Texas works. Even 'The New York Times' let it slip into its pages that, 'Texas is the future.'
When you're dealing with a symbol in a realistic play, it is also a realistic fact. You must expect the audience's mind to work on both levels, symbolically and realistically. But we're trained so much in pure, realistic theater that it's difficult for us to handle things on two levels at the same time.
The objections to religion are of two sorts - intellectual and moral. The intellectual objection is that there is no reason to suppose any religion true; the moral objection is that religious precepts date from a time when men were more cruel than they are and therefore tend to perpetuate inhumanities which the moral conscience of the age would otherwise outgrow.
If you want to become a man of letters and perhaps write some Histories one day, you must also lie and invent tales, otherwise your History would become monotonous. But you must act with restraint. The world condemns liars who do nothing but lie, even about the most trivial things, and it rewards poets, who lie only about the greatest things.
I refuse to be misled by any kind of a mirage about any alleged success of what I write. Those things are too easily exaggerated, and even when they are true, they always mean less than they seem to.
Part of the main plan of imperialism... is that we will give you your history, we will write it for you, we will re-order the past...What's more truly frightening is the defacement, the mutilation, and ultimately the eradication of history in order to create... an order that is favorable to the United States.
There is no objection to the proposal: in order to learn to be a poet, I shall try to write a sonnet. But the thing you must try to write, when you do so, is a real sonnet, and not a practice sonnet.
Well you know, it's true that as a fat person I run a greater risk of heart disease, diabetes, and a number of other things. But guess what? The amount of that risk is almost infinitessimal!
For anybody that works in any kind of demining or any kind of humanitarian aid work, there is danger and it's always a high-risk area [in Cambodia].
One must avoid ambition in order to write. Otherwise something else is the goal: some kind of power beyond the power of language. And the power of language, it seems to me, is the only kind of power a writer is entitled to.
You just have to change. To be successful, what you have to do is have an acceptance of risk and you have to be pretty explicit about that, because if you don’t accept risk, you don’t get any innovation. And that means part of risk is you have to accept failure because not everything works.
I try to write about realistic people doing realistic things. Or as close as I can get, given that I'm trying to write a suspenseful crime novel.
It is all, as usual, paradox. I have to use what intellect I have in order to write books, but I write the kind of books I do in order that I may try to set down glimpses of things that are on the other side of the intellect. We do not go around and discard the intellect, but we must go through and beyond it.
For the most part you are dealing with jealousy, you are dealing with love, you're dealing with hatred, you are dealing with revenge and all of these sort of classic things.
For true devotion must issue from the heart, and consist in the truth and substances alone of what is represented by spiritual things; all the rest is affection and attachment proceeding from imperfection; and in order that one may pass to any kind of perfection it is necessary for such desires to be killed.
The universe is no narrow thing and the order within it is not constrained by any latitude in its conception to repeat what exists in one part in any other part. Even in this world more things exist without our knowledge than with it and the order in creation which you see is that which you have put there, like a string in a maze, so that you shall not lose your way. For existence has its own order and that no man’s mind can compass, that mind itself being but a fact among others.
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