A Quote by Willa Cather
A creative writer can do his best only with what lies within the range and character of his deepest sympathies.
Related Quotes
To note an artist's limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.
This airline is grateful for his extensive contributions and we will miss his friendship and support. We extend our deepest sympathies to the Casey family on its personal loss.
Detach the writer from the milieu where he has experienced his greatest sense of belonging, and you have created a discontinuity within his personality, a short circuit in his identity. The result is his originality, his creativity comes to an end. He becomes the one-book novelist or the one-trilogy writer.
MAN’S ONLY LIMITATION, within reason, LIES IN HIS DEVELOPMENT AND USE OF HIS IMAGINATION.
As man advances in civilization, and small tribes are united into larger communities, the simplest reason would tell each individual that he ought to extend his social instincts and sympathies to all members of the same nation, though personally unknown to him. This point being once reached, there is only an artificial barrier to prevent his sympathies extending to the men of all nations and races.
God gives His deepest discernment and sharpest marksmanship to men who aim to expose His truth before an enemy's lies.
A man's character is like his house. If he tears boards off his house and burns them to keep himself warm and comfortable, his house soon becomes a ruin. If he tells lies to be able to do the things he shouldn't do but wants to, his character will soon become a ruin. A man with a ruined character is a shame on the face of the earth.
It is a mistake to talk about the artist looking for his subject. In fact, the subject grows within him like a fruit and begins to demand expression. It is like childbirth. The poet has nothing to be proud of. He is not master of the situation, but a servant. Creative work is his only possible form of existence, and his every work is like a deed he has no power to annul. For him to be aware that the sequence of such deeds is due and ripe, that it lies in the very nature of things, he has to have faith in the idea; for only faith interlocks the system of images for which read system of life.
The creative consequences of man's imaginative strivings may never make him whole; but they constitute his deepest consolations and his greatest glories.
In his garden every man may be his own artist without apology or explanation. Each within his green enclosure is a creator, and no two shall reach the same conclusion; nor shall we, any more than other creative workers, be ever wholly satisfied with our accomplishment. Ever a season ahead of us floats the vision of perfection and herein lies its perennial charm.
In a man's letters you know, Madam, his soul lies naked, his letters are only the mirror of his breast, whatever passes within him is shown undisguised in its natural process. Nothing is inverted, nothing distorted, you see systems in their elements, you discover actions in their motives.
A man is what he is, not what men say he is. His character no man can touch. His character is what he is before his God and his Judge; and only himself can damage that. His reputation is what men say he is. That can be damaged; but reputation is for time, character is for eternity.
When a lion stalks a herd, he sneaks in close, lies down, and surveys them to choose his victim. He takes his time. The deer or buffalo have no idea he’s near. He finds his prey and then he explodes from his hiding place and grabs it. Even if another, perfectly serviceable animal ends up within his reach, he isn’t going to alter his course. He has chosen, and he would rather go hungry than change his mind.
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.
Our Lord's miracles were all essential parts of His one consistent life. They were wrought as evidences not only of His power, but of His mercy. They were throughout moral in their character, and spiritual in the ends contemplated by them. They were in fact embodiments of His whole character; exemplars of His whole teaching, emblems of His whole mission.
Let us not forget that violence does not live alone and is not capable of living alone: it is necessarily interwoven with falsehood. Between them lies the most intimate, the deepest of natural bonds. Violence finds its only refuge in falsehood, falsehood its only support in violence. Any man who has once acclaimed violence as his method must inexorably choose falsehood as his principle.
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