Oh God how subtle he would have to be, how cunning... No paragraph, no phrase even of the thousands the book must contain could strike a discordant note, be less than fully imagined, an entire novel's worth of thought would have to be expended on each one. His attention had only to lapse for a moment, between preposition and object, colophon and chapter heading, for dead spots to appear like gangrene that would rot the whole. Silkworms didn't work as finely or as patiently as he must, and yet boldness was all, the large stroke, the end contained in and prophesied by the beginning, the stains of his clouds infinitely various but all signifying sunrise. Unity in diversity, all that guff. An enormous weariness flew over him. The trouble with drink, he had long known, wasn't that it started up these large things but that it belittled the awful difficulties of their execution. ("Novelty")

The only advice … that one person can give another about reading is to take no advice, to follow your own instincts, to use your own reason, to come to your own conclusions. If this is agreed between us, then I feel at the liberty to put forward a few ideas and suggestions because you will not allow them to fetter that independence which is the most important quality that a reader can possess. After all, what laws can be laid down about books? The battle of Waterloo was certainly fought on a certain day; but is Hamlet a better play than Lear? Nobody can say. Each must decide that question for himself. To admit authorities, however heavily furred and gowned, into our libraries and let them tell us how to read, what to read, what value to place upon what we read, is to destroy the spirit of freedom which is the breath of those sanctuaries. Everywhere else we may be bound by laws and conventions — there we have none.

As I mentioned briefly on the phone, the best thing about the Air Chrysalis is that it's not an imitation of anyone. It has absolutely none of the usual new writer's sense of 'I want to be another so-and-so'. the syle, for sure, is rough,and the writing is clumsy. She even gets the title wrong: she's confusing 'chrysalis' and 'cocoon'. You could pick it apart completely if you wanted to. But the story itself has real power: it draws you in. the overall plots is a fantasy, but the descriptive details is incredibly real.The balance between the two is excellent. I don't know if words like 'originality' or Inevitability' fit here, and I suppose I might agree if someone insisted it's not at that level, but finally, after you work your way through the thing, with all its faults, it leaves a real impression- it gets to you in some strange, inexplicable way that may be a little disturbing.

A skillful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents as may best aid him in establishing this preconceived effect. If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no words written, of which the tendency, direct or indirect, is not to the one pre-established design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction. The idea of the tale has been presented unblemished because undisturbed: and this is an end unattainable by the novel. Undue brevity is just as exceptionable here as in the poem; but undue length is yet more to be avoided.

I often said that writers are of two types.There is the architect, which is one type. The architect, as if designing a building, lays out the entire novel at a time. He knows how many rooms there will be or what a roof will be made of or how high it will be, or where the plumbing will run and where the electrical outlets will be in its room. All that before he drives the first nail. Everything is there in the blueprint.And then there's the gardener who digs the hole in the ground, puts in the seed and waters it with his blood and sees what comes up. The gardener knows certain things. He's not completely ignorant. He knows whether he planted an oak tree, or corn, or a cauliflower. He has some idea of the shape but a lot of it depends on the wind and the weather and how much blood he gives it and so forth.No one is purely an architect or a gardener in terms of a writer, but many writers tend to one side or the other. I'm very much more a gardener.

I read daily, not so much for the benefit of my writing, but because I am addicted to it. There is nothing in the world for me that compares to being lost in a really good novel. That said, reading is an absolute must if you want to write. It is a trite enough thing to say, but very true nonetheless. I cannot understand aspiring writers who email me for advice and freely admit that they read very little. I have learned something from every writer I have ever read. Sometimes I have done so consciously, picking up something about how to frame a scene, or seeing a new possibility with regards to structure, or interesting ways to write dialogue. Other times, I think, my collective reading experience affects my sensibilities and informs me in ways that I am not quite aware of, but in real ways that impact how I approach writing. The short of it is, as an aspiring writer, there is nothing as damaging to your credibility as saying that you don’t like to read

When Great Trees FallWhen great trees fall,rocks on distant hills shudder,lions hunker downin tall grasses,and even elephantslumber after safety.When great trees fallin forests,small things recoil into silence,their senseseroded beyond fear.When great souls die,the air around us becomeslight, rare, sterile.We breathe, briefly.Our eyes, briefly,see witha hurtful clarity.Our memory, suddenly sharpened,examines,gnaws on kind wordsunsaid,promised walksnever taken.Great souls die andour reality, bound tothem, takes leave of us.Our souls,dependent upon theirnurture,now shrink, wizened.Our minds, formedand informed by theirradiance,fall away.We are not so much maddenedas reduced to the unutterable ignoranceof dark, coldcaves.And when great souls die,after a period peace blooms,slowly and alwaysirregularly. Spaces fillwith a kind ofsoothing electric vibration.Our senses, restored, neverto be the same, whisper to us.They existed. They existed.We can be. Be and bebetter. For they existed.

In our modern world, this elemental quality of storytelling is denied. We live today in a world in which everything has its place and function and nothing is left out of place. Storytelling is thus at a discount and like everything else in a world ruled by the laws of exchange value, literature is required to submit itself to the requirements of the market and must learn, like any other commodity, to adapt and serve needs that lie outside of itself and its concrete value. It is forced to stand not for itself but for an ideological cause of one sort or another, whether it be political, social or literary. It cannot exist for itself: like everything else it has to be justified. And for this very reason the power of storytelling is automatically devalued. Literature is reduced to the status of complimentary utilitarian functions: as a pastime to provide distraction and entertainment, or as a heightened activity that would claim to explore 'great truths' about the human condition.

You may be a serious writer if ….10. your hard drive is littered with random notes and story ideas … but not nearly as littered as your head.9. you keep pen and paper next to your bed. And in the glove compartment. And in your gym bag. Also on the rim of the bathtub.8. a day without Roget’s Thesaurus is a day without sunshine.7. your emotional landscape includes creativity, confidence, elation, frustration, and the occasional neurosis.6. you’ve ever had to clean peanut butter and bread crumbs off your keyboard, because the work was going well, and you didn’t want to stop for lunch.5. grammar and punctuation turn you on.4. your interest in a new acquaintance is directly proportionate to his/her potential as a secondary character.3. you’ve worn the white e, r, s, and t clean off your keyboard.2. the search history on your web browser would raise red flags with the FBI, CIA, DEA, and mental health professionals everywhere.1. you have stories to tell, and you just. Keep. Telling. Them.

I find myself nursing keen regret at probably not being able to live long enough to explain properly to you what I do not myself pretend to know. But since it has been proved that by an extraordinary chance I have not yet lost my life since that far-off time when, filled with terror, I began the preceding sentence, I mentally calculate that it will not be useless here to construct the complete avowal of my basic impotence, especially when it is a matter (as at present) of this imposing & inaccessible question. It is, generally speaking, a singular thing that the attractive tendency which induces us to seek out (in order to then express them) the resemblances & differences concealed in the natural properties of the most conflicting objects, & on the surface sometimes the least apt to lend themselves to this kind of sympathetically curious combination, which -upon my word -gracefully add to the style of the writer, who for personal satisfaction requites himself with the impossible & unforgettable appearance of an owl grave until eternity.

Eating was still a sore point with Smriti.She failed to understand,when interesting options like mango juice or chocolates were available,why was she forced by her stupid mother to eat boring regular meals?After much contemplation,Nikhil came up with a suggestion'Don't give her food till she herself asks for it'.His idea'starve-to know-the-worth-of -food'made sense to Abhilasha,though it took her a great deal of resolve before she could actually try it out. So on a sunday,the'lady with an iron will'took over from'the soft and kind hearted mother'.she did not give her anything to eat and waited for the golden moment,expecting a hungry Smriti to beg for food.But the much awaited moment never came.Smriti was not at all bothered about her meal and kept playing happily. The day turned into evening and still there was no trace of hunger in her."Aren't you feeling hungry?' now a worried mother had no option but to eat the humble pie and ask the daughter."No Maa. My friend Pinky had brought wafers and chocolates. Those were so yummy that I ate them all......"And that was the end of her'starve-to -know-the-worth-of-food-mission.

What is fantasy? On one level, of course, it is a game: a pure pretense with no ulterior motive whatever. It is one child saying to another child, “Let’s be dragons,” and then they’re dragons for an hour or two. It is escapism of the most admirable kind—the game played for the game’s sake. On another level, it is still a game, but a game played for very high stakes. Seen thus, as art, not spontaneous play, its affinity is not with daydream, but with dream. It is a different approach to reality, an alternative technique for apprehending and coping with existence. It is not antirational but pararational; not realistic, but surrealistic, superrealistic, a heightening of reality. In Freud’s terminology, it employs primary, not secondary process thinking. It employs archetypes, which, Jung warned us, are dangerous things. Dragons are more dangerous, and a good deal commoner, than bears. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is. It is a real wilderness, and those who go there should not feel too safe. And their guides, the writers of fantasy, should take their responsibilities seriously.

The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division.("Introduction")

The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden

Their conversation ceased abruptly with the entry of an oddly-shaped man whose body resembled a certain vegetable. He was a thickset fellow with calloused and jaundiced skin and a patch of brown hair, a frizzy upheaval. We will call him Bell Pepper. Bell Pepper sidled up beside The Drippy Man and looked at the grilled cheese in his hand. The Drippy Man, a bit uncomfortable at the heaviness of the gaze, politely apologized and asked Bell Pepper if he would like one. “Why is one of your legs fatter than the other?” asked Bell Pepper. The Drippy Man realized Bell Pepper was not looking at his sandwich but towards the inconsistency of his leg sizes. “You always get your kicks pointing out defects?” retorted The Drippy Man. “Just curious. Never seen anything like it before.” “I was raised not to feel shame and hide my legs in baggy pants.” “So you flaunt your deformity by wearing short shorts?” “Like you flaunt your pockmarks by not wearing a mask?” Bell Pepper backed away, kicking wide the screen door, making an exit to a porch over hanging a dune of sand that curved into a jagged upward jab of rock. “He is quite sensitive,” commented The Dry Advisor. “Who is he?” “A fellow who once manipulated the money in your wallet but now curses the fellow who does.