A Quote by Virginia Woolf

to write a novel in the heart of London is next to an impossibility. I feel as if I were nailing a flag to the top of a mast in a raging gale. — © Virginia Woolf
to write a novel in the heart of London is next to an impossibility. I feel as if I were nailing a flag to the top of a mast in a raging gale.
By the way, I don't mean to pick nits here, but Obama has just ordered the flag at half-mast for 10 days for Mandela. He did not order the flag at half-mast at all for Lady Thatcher.
Every novel is like this, desperation, a frustrated attempt to save something of the past. Except that it still has not been established whether it is the novel that prevents man from forgetting himself or the impossibility of forgetfulness that makes him write novels.
It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
I can't help comparing what I have with Gale to what I'm pretending to have with Peeta. How I never question Gale's motives while I do nothing but doubt the latter's. It's not a fair comparison really. Gale and I were thrown together by a mutual need to survive. Peeta and I know the other's survival means our own death. How do you sidestep that?
London was the Olympics that I was most nervous about. From coming into the venue and stepping on to the mat, people were supporting with 'Saori' banners and waving the Japanese flag, so even though it was London, I felt much more like fighting at home that way, which was really inspiring.
I always was interested in prose. As a teenager, I published short stories. And I always wanted to write the long short story, I wanted to write a novel. Now that I have attained, shall I say, a respectable age, and have had experiences, I feel much more interested in prose, in the novel. I feel that in a novel, for example, you can get in toothbrushes and all the paraphernalia that one finds in dally life, and I find this more difficult in poetry.
When I die I have visions of fags singing 'Over the Rainbow' and the flag at Fire Island being flown at half mast.
I write whenever it suits me. During a creative period I write every day; a novel should not be interrupted. When I cease to be carried along, when I no longer feel as though I were taking down dictation, I stop.
I went abroad to Malaya and came back and tended naturally to gravitate towards the south, I suppose, near London where things seemed to be going on; but I'm still a Lancashire man, and what I want to write someday is a novel about Manchester. Very much a regional novel.
Haul up the flag, you mourners, Not half-mast but all the way; The funeral is done and disbanded; The devil's had the final say.
Whatever bliss we think we're going to find, we may find it in brief flashes, fleeting moments that come and go. There's an impossibility to nailing down any good feeling.
When I start getting close to the end of a novel, something registers in the back of my mind for the next novel, so that I usually don't write, or take notes. And I certainly don't begin. I just allow things to percolate for a while.
I arrived in London and I was terrified. I never wanted to be a celebrity - one minute I was in school and the next I was in London talking to people at a record company. If anything, I didn't feel in any way worthy.
The novel that's contemporary in the sense of being wholly 'of now' is an impossibility, if only because novels may take years to write, so the 'now' with which they begin will be defunct by the time they're finished.
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