A Quote by Virginia Woolf
But the novels of women were not affected only by the necessarily narrow range of the writer's experience. They showed, at least in the nineteenth century, another characteristic which may be traced to the writer's sex. In Middlemarch and in Jane Eyre we are conscious not merely of the writer's character, as we are conscious of the character of Charles Dickens, but we are conscious of a woman's presence of someone resenting the treatment of her sex and pleading for its rights.
Related Quotes
There's a half-conscious state you enter when you're actually generating prose, and you are simply a better writer in that place. In fact it's the only place where you even are a writer.
When a young writer deliberately tries to create an effect, the result is often a little self-conscious and overdone. But why is it so hard for us to glory in what the writer has tried to do, or even in the very fact that the writer has deliberately tried to do something?
Another sex worker and writer I respect put it this way: she said that as a writer, you're not about pleasing people, and as a sex worker it's all about pleasing people. It's all about creating this fantasy. I still feel like as a writer you actually do have put on a show. You can't just hand over your notes. And there is a degree to which you are appealing to the reader's vanity, whether you tell yourself you're doing that or not.
If you find yourself imitating another writer, that doesn't have to be a bad thing, especially if you are a young or a new writer. However, you should be conscious of exactly how you are imitating him - word choice, sentence structure, motifs? - and think about why you're doing it.
The true unconscious is the well-head, the fountain of real motivity. The sex of which Adam and Eve became conscious derived fromthe very God who bade them be not conscious of it.
Although I knew enough Freud to believe that the sex urge was an important mainspring of life, it still seemed to me that any conscious manifestation of sex was necessarily ludicrous. Defecation and copulation were two activities which made a human being totally ridiculous. At least the former could be conducted in private, but the latter by definition demanded a partner. I discovered, though, that whenever I ventured this opinion, people took it as a joke.
The writer, like a swimmer caught by an undertow, is borne in an unexpected direction. He is carried to a subject which has awaited him--a subject sometimes no part of his conscious plan. Reality, the reality of sensation, has accumulated where it was least sought. To write is to be captured--captured by some experience to which one may have given hardly a thought.
I grew up with 'Jane Eyre,' reading it at school, and it's one of those, I think, for a lot of women, a lot of girls, it's the iconic story and so many girls relate to Jane Eyre and her character.
Even my novels offer passages in which the major character is imagined as a writer. In Joss and Gold, Li An is a business writer who edits her company's weekly public relations magazine. And in Sister Swing, Suyin writes human interest stories for a free, local community paper, The Asian Time.
Becoming a writer is about becoming conscious. When you're conscious and writing from a place of insight and simplicity and real caring about the truth, you have the ability to throw the lights on for your reader. He or she will recognize his or her life and truth in what you say, in the pictures you have painted, and this decreases the terrible sense of isolation that we have all had too much of.
I use [Heraclitus' discovery of] enantiodromia for the emergence of the unconscious opposite in the course of time. This characteristic phenomenon practically always occurs when an extreme, onesided tendency dominates conscious life; in time an equally powerful counterposition is built up, which first inhibits the conscious performance and subsequently breaks through the conscious control.
I never agree to do a character that molests a woman. I have been very conscious not to do such roles. I believe that even a villain should have character, which people can remember.
The conscious mind is the editor, and the subconscious mind is the writer. And the joy of writing, when you're writing from your subconscious, is beautiful - it's thrilling. When you're editing, which is your conscious mind, it's like torture.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
What is difficult to understand is that without conscious effort, nothing is possible. Conscious effort is related to higher nature. My lower nature alone cannot lead me to consciousness. It is blind. But when I wake up and I feel that I belong to a higher world, this is only part of conscious effort. I become truly conscious only when I open to all my possibilities, higher and lower. There is value only in conscious effort.
The writer by nature of his profession is a dreamer and a conscious dreamer. He must imagine, and imagination takes humility, love and great courage. How can you create a character without live and the struggle that goes with love?
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