Why can't a writer use writing as a painter uses paint? I try to. When I wrote The Tree of Man I felt I couldn't write about simple, illiterate people in a perfectly literate way; but in my present novel the language is more sophisticated. I think perhaps I have clarified my style quite a lot over the years. I find it a great help to hear the language going on around me; not that what I write, the narrative, is idiomatic Australian, but the whole work has a balance and rhythm which is influenced by what is going on around you. When you first write the narrative it might be unconscious, but when you come to work it over you do it more consciously. It gives what I am writing a greater feeling of reality.
Patrick WhiteRelated topics
australian balance felt feeling find gives great help idiomatic illiterate language literate man might narrative novel paint painter people perhaps present quite reality rhythm simple style think tree try unconscious use way work writing write writer years usesRelated quotes
The success of mathematical physics led the social scientist to be jealous of its power without quite understanding the intellectual attitudes that had contributed to this power. The use of mathematical formulae had accompanied the development of the natural sciences and become the mode in the social sciences. Just as primitive peoples adopt the Western modes of denationalized clothing and of parliamentatism out of a vague feeling that these magic rites and vestments will at once put them abreast of modern culture and technique, so the economists have developed the habit of dressing up their rather imprecise ideas in the language of the infinitesimal calculus.
Norbert Wiener
And all that time I couldn't work. So much of a novelist's writing, as I have said, takes place in the unconscious: in those depths the last word is written before the first word appears on the paper. We remember details of our story, we do not invent them. War didn't trouble those deep sea-caves, but not there was something of infinitely greater importance to me than war, than my novel – the end of love. That was being worked out not, like a story: the pointed word that sent her crying, that seemed to have come so spontaneously to the lips, had been sharpened in those underwater caverns. My novel lagged, but my love hurried like inspiration to the end.
Graham Greene
The average "educated" American has been made to believe that, somehow, the United States must lead the world even though hardly anyone has any information at all about those countries we are meant to lead. Worse, we have very little information about our own country and its past. That is why it is not really possible to compare a writer like Howells with any living American writer because Howells thought that it was a good thing to know as much as possible about his own country as well as other countries while our writers today, in common with the presidents and paint manufacturers, live in a present without past among signs whose meanings are uninterpretable.
Gore Vidal
One outcome of the Norman Conquest was the making of the English language. ...the speech of Alfred and Bede, was exiled from hall and bower, from court and cloister, and was despised as a peasant's jargon... It ceased almost, though not quite, to be a written language. ... Now when a language is seldom written and is not an object of interest to scholars, it quickly adapts itself in the mouths of plain people to the needs and uses of life. ...it can be altered much more easily when there are no grammarians to protest. During the three centuries when our native language was a peasant's dialect, it lost its clumsy inflexions and elaborate genders, and acquired the grace, suppleness, and adaptability which are among its chief merits.
G. M. Trevelyan
In those three years, (from fourteen to seventeen years old)... I came to understand the meaning of a drawing from the life, the synthesis of my art, and the rhythm of animais. I remember that a companion of those days,' of whom I hâve since lost sight, made me see, in a couple of hours, on a very true and simple principle, an observation of the necessary equilibria of movement not taught in the schools, the secret of the plans of a figure. That lesson has influenced my whole life. As for the ornament-maker, in whose workshop I earned a scanty wage, I long deplored being constrained to do so, but I hâve since thought with affection of it, understanding that there are as many sources of beauty in ornament as in the face.
Auguste Rodin
