Don't we forgive everything of a lover? We forgive selfishness, desire, guile. As long as we are the motive for it...There are some European words you can never translate properly into another language.
Michael OndaatjeRead
She had always wanted words, she loved them; grew up on them. Words gave her clarity, brought reason, shape.
Interpretation
The quote expresses the deep appreciation for words and their power to provide clarity and understanding in life.
In this quote by Michael Ondaatje, the speaker reflects on a person's lifelong affection for words, highlighting how they have been a source of clarity and structure for her. Words are portrayed as essential tools that not only convey meaning but also shape one's perception of the world, illustrating the profound impact language has on an individual's thoughts and experiences.
In practice
In a speech about the importance of storytelling, this quote can emphasize the impact of words in shaping narratives.
Don't we forgive everything of a lover? We forgive selfishness, desire, guile. As long as we are the motive for it...There are some European words you can never translate properly into another language.
When we are young we do not look into mirrors. It is when we are old, concerned with our name, our legend, what our lives will mean to the future. We become vain with the names we own, our claims to have been the first eyes, the strongest army, the cleverest merchant. It is when he is old that Narcissus wants a graven image of himself.
Water is the exile, carried back in cans and flasks, the ghost between your hands and your mouth.
You must talk to me, Caravaggio. Or am I just a book? Something to be read, some creature to be tempted out of a loch and shot full of morphine, full of corridors, lies, loose vegetation, pockets of stones.
You don't want to write your own opinion, you don't want to just represent yourself, but represent yourself through someone else.
A man in a desert can hold absence in his cupped hands, knowing it is something that feeds him more than water.
I'm aware that many of my friends will be saddened and shocked, or shock-saddened, over some of the chapters in 'The Catcher In the Rye.' Some of my best friends are children. In fact, all my best friends are children. It's almost unbearable for me to realize that my book will be kept on a shelf out of their reach.
I am not going to get into it myself, except to say (1) if I am writing "boy fiction," who are all those boys with breasts who keep turning up by the hundreds at my signings and readings? and (2) thank you, geek girls! I love you all.
There was, in my view, an unwritten contract with the reader that the writer must honour. No single element of an imagined world or any of its characters should be allowed to dissolve on an authorial whim. The invented had to be as solid and as self-consistent as the actual. This was a contract founded on mutual trust.
When a novel has 200,000 words, then it is possible for the reader to experience 200,000 delights, and to turn back to the first page of the book and experience them all over again, perhaps more intensely.
Authors, she soon decided, were probably best met within the pages of their novels, and were as much creatures of the reader's imagination as the characters in their books. Nor did they seem to think one had done them a kindness by reading their writings. Rather they had done one the kindness by writing them.
From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar. The stranger is an archetype in epic poetry, in novels. The tension between alienation and assimilation has always been a basic theme.
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