A Quote by Sabina Murray
Joseph Conrad and Heart of Darkness loom huge in my development as a writer. I think I'm always trying to write Heart of Darkness - trying to explode an abstraction in concrete terms, although I am aware that Conrad's story has a bit of baggage that I'd rather avoid in my work.
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You know, I've read Joseph Conrad's 'Heart of Darkness' about fifteen times.
Things happen in 'If This is a Man' that are beyond ordinary daily experience, but it is still us to whom they are happening, and the understanding Levi seeks is no different in kind from that sought by Shakespeare in 'King Lear', or Conrad in 'The Heart of Darkness'.
When I am writing, I am trying to find out who I am, who we are, what we're capable of, how we feel, how we lose and stand up, and go on from darkness into darkness. I'm trying for that. But I'm also trying for the language. I'm trying to see how it can really sound.
Until we have met the monsters in ourselves, we keep trying to slay them in the outer world. And we find that we cannot. For all darkness in the world stems from darkness in the heart. And it is there that we must do our work.
I can give you my loneliness, my darkness, the hunger of my heart, I am trying to bribe you with uncertainty, with danger, with defeat.
God seeks to influence humanity. This is at the heart of the Christmas story. It is the story of light coming into the darkness, of a Savior to show us the way, of light overcoming the darkness, of God's work to save the world.
We had all these famous writers in Sweden and from all over the world home at dinner. I wanted to be a writer, and I wanted to be a highbrow writer as my father. He never, ever read anything like crime novels. He wrote biographies of Dante, James Joyce, August Strindberg and Joseph Conrad.
With 'Nostromo', Joseph Conrad said that he had wanted to write a novel about the degradation of an idea. That's what we wanted to show in the case of Dustin Hoffman's character, Bernstein.
Sometimes I write music, sometimes I don't. I think I'm just writing more what's close to my heart, and musical stuff is close to my heart, and it's fun to write, and when something's fun to write you don't think about what statement you're trying to make or what genre you're trying to hone in on.
'Top Of The Lake' is a great story with a beginning, and a middle and an end, about darkness - it's like the heart of darkness. And everybody has got one. When I was reading it, I couldn't put it down, and I wanted to know what was going to happen next.
When I'm writing, I am trying to find out who I am, who we are, what we're capable of, how we feel, how we lose and stand up, and go on from darkness into darkness.
Don't people know that it's the hardest work in the world? Joseph Conrad said that he had loaded hundredweights of coal all day long on a ship in Amsterdam in the wintertime, and that is was nothing to the energy demanded for a day's work writing.
My husband was getting his sea legs-rereading Joseph Conrad with a side order of C S Forester.
Joseph Conrad was a thoroughgoing racist. That this simple truth is glossed over in criticisms of his work is due to the fact that white racism against Africa is such a normal way of thinking that its manifestations go completely unremarked.
Conrad placed on the title page an epigraph taken from Edmund Spenser's The Faerie Queene: "Sleep after toyle, port after stormie seas, Ease after warre, death after life, does greatly please" This also became Conrad's epitaph.
As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.
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