A Quote by Susan Mitchell
in my skimmings over fiction I cannot recall any writer so continuously implicated in his own work as George Moore.
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[On writer George Moore:] ... I grew curious about Moore. Yet when at the rehearsal of 'Countess Cathleen' in some dark by-way of London, I was told he was present, I cannot recall any form, only an irritation in the dusty atmosphere.
The moral duty of the free writer is to begin his work at home: to be a critic of his own community, his own country, his own government, his own culture. The more freedom the writer possesses, the greater the moral obligation to play the role of critic.
I cannot recall any moment of clarity about becoming a writer. I always liked to read. That's what did it.
I love players like Thurston Moore. I mean, you can put notes down on a sheet of paper, and if you practice and get your chops up, you can play like an Eddie Van Halen or a Steve Vai. But nobody can do what Thurston Moore does; he's his own guy. He talks through his instrument in a language that's all his own.
I was listening to this interview with fiction writer George Saunders the other day, and he said something about how the role of a writer is to build a more detailed world. I think it applies to what Gord Downie is doing with his body of work, which is to build a more detailed world and there's something really political about that.
The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.
A non-fiction writer pretty much has the shape of the figure in front of him or her and goes about refining it. A work of non-fiction is not as difficult to write as a work of fiction, but it's not as satisfying in the end.
I don't believe a poet has a better hold on truth or morality than a fiction writer has. And I don't think a fiction writer has anything over a journalist. It's all about the good word, properly inserted.
The writer walks out of his workroom in a daze. He wants a drink. He needs it. It happens to be a fact that nearly every writer of fiction in the world drinks more whisky than is good for him. He does it to give himself faith hope and courage. A person is a fool to become a writer. His only compensation is absolute freedom. He has no master except his own soul and that I am sure is why he does it.
George Moore leads his readers to the latrine and locks them in.
any writer is inevitably going to work with his own anxieties and desires. If the book is any good it has got to have in it the fire of a personal unconscious mind.
A fool can never be made to question his own wisdom. And George Groves is very foolish. He believes his own nonsense. He cannot stay with me for 12 rounds. He's not tough enough.
George Orwell is half journalist, half fiction writer. I'm 100 percent fiction writer... I don't want to write messages. I want to write good stories. I think of myself as a political person, but I don't state my political messages to anybody.
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.
What a writer can do, what a fiction writer or a poet or an essay writer can do is re-engage people with their own humanity.
A fiction which is designed to inculcate an object wholly alien to the imagination sins against the first law of art; and if a writer of fiction narrow his scope to particulars so positive as polemical controversy in matters ecclesiastical, political or moral, his work may or may not be an able treatise, but it must be a very poor novel.
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