Top 105 Faulkner Quotes & Sayings - Page 2

Every writer knows that when you're imitating somebody - you know, you're sounding like Faulkner - you're doing pretty good, but your life in Hoboken isn't Faulkneresque. So you get that kind of shortfall between the actual experience of the writer and the things he's hungry to express and the voice itself.

If you look at any list of great modern writers such as Ernest Hemingway, William Faulkner, and F. Scott Fitzgerald, you'll notice two things about them: 1. They all had editors. 2. They are all dead. Thus we can draw the scientific conclusion that editors are fatal.

I am a rereader. Quality is variety if you wait long enough. Barthes, Baudelaire, Benjamin, Celine, Duras, Faulkner, Fitzgerald, Melville: There is so much to revisit. 'Ingrid Caven,' by Jean-Jacques Schuhl, is always in rotation. I used to read 'Morvern Callar,' by Alan Warner, every year - I adored that book.

In crime fiction, I cut my teeth on early Robert Parker, Elmore Leonard, John D. MacDonald, and Alan Furst. I always loved the writing of Hemingway and Faulkner. Cormac McCarthy's 'Border Trilogy' has been a huge influence; I think I read those novels four times.

One of the scandalous things I did was as I read them afterward I would burn them. I loved them, but for practical reasons I had to lighten the load. I burned favorites, like William Faulkner's "As I Lay Dying." There's a whole list in the back of my book. It's me,[Adolf] Hitler, [Benito] Mussolini, and Pol Pot. We're the book burners.

Faulkner speaks to us on the questions of race, the challenges of modernity, and modern man's dilemma in all of its aspects. That he is able to specify among those and bring those themes alive is one of his great gifts. There are so many different kinds of pleasures one gets from encountering those materials.

Poor Faulkner. Does he really think big emotions come from big words? He thinks I don’t know the ten-dollar words. I know them all right. But there are older and simpler and better words, and those are the ones I use.

In college, I started to get soaked in the materials. Subsequently, I worked with R.W.B. Lewis, Robert Penn Warren, and Cleanth Brooks on a history of American literature - I did that for seven or eight years. In the course of that work, my interest in Faulkner deepened and has been sustained ever since.

Stories are there to be told, and each story changes with the telling. Time changes them. Logic changes them. Grammar changes them. History changes them. Each story is shifted side-ways by each day that unfolds. Nothing ends. The only thing that matters, as Faulkner once put it, is the human heart in conflict with itself. At the heart of all this is the possibility, or desire, to create a piece of art that talks to the human instinct for recovery and joy.

I don't want to turn 50 and say, 'Gosh, I wish I'd lived in that part of the world for a time. I wish I'd read that book by Faulkner.' I want time to delve back into Thoreau and Kafka.

The thing that most critics miss about Faulkner is that his famous storytelling voice is, in fact, a standard Southern storytelling voice that is typical of the Gulf Coast - Mississippi, Alabama and so on.

When we have a favorite writer, it's always the places where they grew up, lived, worked, and that they recreated on the page that we most want to visit and commune with. Faulkner's Mississippi, Raymond Chandler's Los Angeles, etc. The mind of the reader longs to be somewhere, not just anywhere, and certainly not nowhere.

I wish I could write well enough to write about aircraft. Faulkner did it very well in Pylon but you cannot do something someone else has done though you might have done it if they hadn't.

Faulkner's 'As I Lay Dying' had an immense effect on me, and most of my novels bear the burn marks of this experience, those short chapters with their conflicting points of view, truth expressed by multiple perspectives. The other attractive thing about 'As I Lay Dying' was the way it gave rich voices to the poor.

John McEnroe...was arguably the best serve-and-volley man of all time, but then McEnroe was an exception to pretty much every predictive norm there was. At his peak (say 1980 to 1984), he was the greatest tennis player who ever lived-the most talented, the most beautiful, the most tormented: a genius. For me, watching McEnroe don a blue polyester blazer and do stiff lame truistic color commentary for TV is like watching Faulkner do a Gap ad.

Faulkner is a writer who has had much to do with my soul, but Hemingway is the one who had the most to do with my craft - not simply for his books, but for his astounding knowledge of the aspect of craftsmanship in the science of writing.

I made an executive decision in college when I learned how behind I was in the world of books, films, and music because of my rural upbringing. I really reduced the amount of time that sports took up in my life.I still have some Faulkner to get through.

It was a period when live TV was just starting and getting popular and they took it seriously too. Not so much like TV now. They did Hemingway and Faulkner - and they’re all wonderful artists and it just was very creative at that time.

We can't slow up because of our love for democracy and our love for America. Someone should tell Faulkner that the vast majority of the people on this globe are colored.

The 1992 US Olympic basketball team is the best sports team ever, the equivalent of rounding up the greatest American writers of the last century or so and watching them collaborate: 'OK, Twain, you do the dialogue and hand off to Faulkner. He'll do the interior monologue. Hemingway will edit - no, don't make that face, you know you overwrite. And be nice to Cheever. He's young, but he's got a good ear. Wharton and Cather can't play - they're girls.'

Well, people have been wondering what's going to happen to the novel for two hundred years; its death has been announced many times. You know, I think the novel keeps redefining the world we live in. What you should look for in a novel is a window nobody else is looking out of, that nobody else can look through. What you look for is a voice. You pick up a novel by someone such as Faulkner or Hemingway and you just read three pages and you know who wrote it. And that's what one should demand of a novelist.

I stopped reading William Faulkner because it's hard work. I want to read a good writer, but I also want to read something where the pages are going to move along. That's what I want. It doesn't have to be a thriller or a mystery. Just something where I get caught up in the story.

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.

William Faulkner was the master of what one must do to be serious. But I don't understand why people haven't moved forward from that, why that's not where the line in the sand is that you would see from. When I think about the reception of my own writing and what seems "difficult," there is an actual precedent.

Monday burn Millay, Wednesday Whitman, Friday Faulkner, burn 'em to ashes, then burn the ashes. That's our official slogan.

In 1966, I attended Marquette University and graduated from the University of California at Santa Cruz in 1970. I received my doctorate in English from the State University of New York at Buffalo, where I wrote my dissertation on William Faulkner's early novels.

Faulkner's characters, too, were uneducated. They were deprived, but they were allowed to have very rich inner lives. I want to advocate for that, for inner lives that are much more complicated and more poetic than we think.

The first five years as a writer, I didn't know how to write at all. I couldn't write my way out of a white paper bag. And yet, I did some remarkable things. And later on, there were periods where I got this mission to find an articulate voice with rewrites and all. There were periods where I was as dense as Faulkner.

Without courage, honor, compassion, pity, love and sacrifice, as William Faulkner pointed out, we know not of love, but lust. We debase our audience. But we can ennoble and enrich our viewers and ourselves in our journey through this good time, this precious time, this great and wonderful experience we call life.

When I saw what painting had done in the last thirty years, what literature had done - people like Joyce and Virginia Woolf, Faulkner and Hemingway - in France we have Nathalie Sarraute - and paintings became so strongly contemporary while cinema was just following the path of theater. I have to do something which relates with my time, and in my time, we make things differently.

John Faulkner's As I Lay Dying is very important to me as an influence. When I didn't know how to start Mr. Splitfoot, I just wrote the first line of As I Lay Dying instead and then continued on. It's dissolved in the text now, but it helped me start.

If you want to study writing, read Dickens. That's how to study writing, or Faulkner, or D.H. Lawrence, or John Keats. They can teach you everything you need to know about writing.

As Faulkner says, all of us have the capacity in us for great good and for great evil, for love but also for hate. I wanted to write those kinds of complex character in a fantasy, and not just have all the good people get together to fight the bad guy.

A favorite science fiction writer of mine is William Faulkner! It was an idea that came to me once, years ago, and I've never quite been able to shake it. This is facetious, on one level at least. There are telepaths in As I Lay Dying. But I think the most compelling thing for me is there are moments with him where I just feel these are not humans talking to each other. These are some hyper-intelligent, yet-to-be-born organisms. The way they look at the past without having any loss of knowledge ? everything that ever happened is still here.

I'm not going to lay down in words the lure of this place. Every great writer in the land, from Faulkner to Twain to Rice to Ford, has tried to do it and fallen short. It is impossible to capture the essence, tolerance, and spirit of south Louisiana in words and to try is to roll down a road of clichés, bouncing over beignets and beads and brass bands and it just is what it is. It is home.

Richie Faulkner is very respectful to the songs that he plays from when [founding member] K.K. [Downing] was in the band. He plays them incredibly. And he's got his own nuances and his own techniques that he puts in - as he should.

The Fall of the House of Zeus is a riveting American saga of ambition, cunning, greed, corruption, high life and low life in the land of Faulkner and Grisham. These are good ol' boys gone bad with flair, private jets, and lots of cash to carry. Curtis Wilkie, a child of the South and a reporter's reporter, is the perfect match for this wild ride.

As the style of Faulkner grew out of his rage--out of the impotence of his rage--the style of Hemingway grew out of the depth andnuance of his disenchantment.

Our most famous writers are Faulkner and Eudora Welty and Flannery O'Connor. It would make sense that the poetry would reflect some of those same values, some of the same techniques.

I have more to say than Hemingway, and God knows, I say it better than Faulkner.

I won't talk to you about my family and you won't talk to me about yours. Family talk is either boring or self-pitying. Or it's Gothic, like a Faulkner novel. Who needs to talk about it? It's enough to live it.

You have to surrender to your mediocrity, and just write. Because it's hard, really hard, to write even a crappy book. But it's better to write a book that kind of sucks rather than no book at all, as you wait around to magically become Faulkner. No one is going to write your book for you and you can't write anybody's book but your own.

Like Hemingway and Faulkner, but in an entirely different mode, Fitzgerald had that singular quality without which a writer is not really a writer at all, and that is a voice, a distinct and identifiable voice. This is really not the same thing as a style; a style can be emulated, a voice cannot, and the witty, rueful, elegaic voice gives his work its bright authenticity.

Intensely moving but never sentimental, Academy Street is a profound meditation on what Faulkner called 'the human heart in conflict with itself'. In Tess Lohan, Mary Costello has created one of the most fully realized characters in contemporary fiction. What a marvel of a book.

After college, I went on a real big classics kick. Read everything by Faulkner, Hemingway, Woolf, Proust, Dostoevsky. And that classics train dropped me off at 'Dracula.' Halfway through it, I understood I'd never be going back, never 'leaving' the genre again. Since then, I've been on a fairly strict horror diet.