Those of us who can remember our childhoods will recall how ardently we relished the moment of the bedtime story, when our mother or father would sit down beside us in the semi-dark and read from a book of fairy tales.
Paul AusterRead
Don't be a writer; it's a terrible way to live your life. There's nothing to be gained from it but poverty and obscurity and solitude. So if you have a taste for all those things, which means that you really are burning to do it, then go ahead and do it. But don't expect anything from anybody.
Interpretation
Writing can be a challenging and often lonely pursuit, but true passion for it can justify the struggles.
In this quote, Paul Auster reflects on the harsh realities of being a writer, emphasizing that the life of a writer is often fraught with difficulties such as poverty and solitude. However, he also acknowledges that if someone is truly passionate about writing—no matter the challenges—they should pursue it wholeheartedly without expecting external validation or support. This underscores the idea that the intrinsic love for art can outweigh the external rewards.
In practice
In a motivational speech about pursuing one's dreams amidst adversity.
Those of us who can remember our childhoods will recall how ardently we relished the moment of the bedtime story, when our mother or father would sit down beside us in the semi-dark and read from a book of fairy tales.
For a man who finds life tolerable only by staying on the surface of himself, it is natural to be satisfied with offering no more than his surface to others. There are few demands to be met, and no commitment is required. Marriage, on the other hand, closes the door. Your existence is confined to a narrow space in which you are constantly forced to reveal yourself – and therefore, constantly obliged to look into yourself, to examine your own depths.
He knew that his wings could ignite at any moment, but the closer he came to touching the fire, the more he sensed that he was fulfilling his destiny. As he put it in his journal that night: If I mean to save my life, then I have to come within an inch of destroying it.
People look at the same passage, and one person will say this is the best thing he's ever read, and another person will say it's absolutely idiotic. I mean, there's no way to reconcile those two things. You just have to forget the whole business of what people are saying.
Bodies count, of course - they count more than we're willing to admit - but we don't fall in love with bodies, we fall in love with each other. We all know that, but the moment we go beyond a catalogue of surface qualities and appearances, words begin to fail us, to crumble apart in mystical confusions and cloudy, unsubstantial metaphors.
At that point, Noriko finally breaks down and begins to cry sobbing into her hands as the floodgates open - this young woman who has suffered in silence for so long, this good woman who refuse to believe she's good, for only the good doubt their own goodness, which is what makes them good in the first place. The bad know they are good, but the good know nothing. They spend their lives forgiving others, but they can't forgive themselves.
Music expresses that which cannot be said and on which it is impossible to be silent.
Writers are opposite of athletes, they get better with age
Fiction writing is a twenty-four-hou r-a-day occupation. You never leave your work behind. It is always with you, and to some extent, you are always thinking about it. You don't take your work home; your work never leaves home. It lives inside you. It resides and grows and comes alive in your mind.
The laws of the colors are unutterably beautiful, just because they are not accidental.
Art is something that grows and breathes and lives, and it shouldn't be predicated on the success of box office - but it is. But within that, you have to give people a chance to find their voice, to play, to continue to create.
People probably have different philosophies about this, but I think that when you're first shaping the play and trying to find a character, the initial actors that develop it end up imprinting on it - you hear their voices; you hear their rhythms. You can't help but to begin to write toward them during the rehearsal process.
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