Blog Archives

Pearls from artists* # 249

Barbara's studio

Barbara’s studio

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Interviewer:  Can a writer learn style?

Capote:  No, I don’t think that style is consciously arrived at, any more than one arrives at the color of one’s eyes.  After all, your style is you.  At the end the personality of  a writer  has so much to do with the work.  The personality has to be humanly there.  Personality is a debased word, I know, but it’s what I mean.  The writer’s individual humanity, his word or gesture towards the world, has to appear almost like a character that makes contact with the reader.  If the personality is vague or confused or merely literary, ca ne va pas.  Faulkner, Mc Cullers – they project their personality at once.

Truman Capote in Writers at Work:  The Paris Review Interviews First Series, edited, and with an introduction by Malcolm Crowley

Comments are welcome!

Pearls from artists* # 170

Barbara at work, Photo: Marianne Barcellona

Barbara at work, Photo: Marianne Barcellona

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Every novelist ought to invent his own technique, that is the fact of the matter.  Every novel worthy of the name is like another planet, whether large or small, which has its own laws just as it has its own flora and fauna.  Thus, Faulkner’s technique is certainly the best one with which to produce Faulkner’s world, and Kafka’s nightmare has produced its own myths that make it communicable.  Benjamin Constant, Stendahl, Eugene Fromentin, Jaques Riviere, Radiquet, all used different techniques, took different liberties, and set themselves different tasks. The work of art itself, whether its title is Adolphe, Lucien Leuwen, Dominique, Le Diable au corps or A la Recherché du temps perdu, is the solution to the problem of technique.  

Francois Mauriac in The Paris Review Interviews:  Writers at Work 1st Series, edited and with an Introduction by Malcolm Cowley

Comments are welcome!

Pearls from artists* # 162

"The Sovereign," soft pastel on sandpaper, 58" x 38"

“The Sovereign,” soft pastel on sandpaper, 58″ x 38″

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Particle after particle of the living self is transferred into the creation, until at last it is an external world that corresponds to the inner world and has the power of outlasting the author’s life.  

I suspect that some such dream is shared by many authors, but among those interviewed it is Faulkner who has come closest to achieving it, and he is also the author who reveals it most candidly.  “Beginning with Sartoris,” he says, I discovered that my own little postage stamp of native soil was worth writing about and that I would never live long enough to exhaust it, and that by sublimating the actual into the apocryphal I would have complete liberty to use whatever talent I might have to its absolute top.  It opened up a mine of other people, so I created a cosmos of my own.  I can move these people around like God, not only in space but in time.”  And then he says, looking back on his work as if on the seventh day,  “I like to think of the world I created as being a kind of keystone in the universe; that, small as that keystone is, if it were ever taken away the universe itself would collapse.  My last book will be the Doomsday Book, the Golden Book, of Yoknapatawpha County.  Then I shall break the pencil and I’ll have to stop.”

Malcolm Cowley in Writers  at Work: The Paris Review Interviews, First Series

Comments are welcome!