The experienced writer says to the anguished novice: 'Just do it; get something, anything, on to the screen or page, just establish a flow of words, and criticise them later.' You give this advice but can't always take it.
Hilary MantelRead
I spend a lot of my time talking to the dead, but since I get paid for it, no one thinks I'm mad.
Interpretation
The quote humorously reflects on how unconventional professions are viewed when they are commercially viable.
Hilary Mantel's quote highlights the peculiar nature of her profession as a writer where she engages with historical figures and events through her imagination and research. It points out the thin line between madness and creativity, suggesting that as long as one is compensated for their time spent on such pursuits, society tends to accept and even celebrate these eccentricities.
In practice
In a lecture about the creative process, I shared this quote to illustrate how writers connect with the past.
The experienced writer says to the anguished novice: 'Just do it; get something, anything, on to the screen or page, just establish a flow of words, and criticise them later.' You give this advice but can't always take it.
History is always changing behind us, and the past changes a little every time we retell it.
Why are we so attached to the severities of the past? Why are we so proud of having endured our fathers and our mothers, the fireless days and the meatless days, the cold winters and the sharp tongues? It's not as if we had a choice.
He is careful to deny responsibility for September, but he does not, you notice, condemn the killings. He also refrains from killing words, sparing Roland and Buzot, as if they were beneath his notice. August 10 was illegal, he says; so too was the taking of the Bastille. What account can we take of that, in revolution? It is the nature of revolutions to break laws. We are not justices of the peace; we are legislators to a new world.
It is the absence of facts that frightens people: the gap you open, into which they pour their fears, fantasies, desires.
History offers us vicarious experience. It allows the youngest student to possess the ground equally with his elders; without a knowledge of history to give him a context for present events, he is at the mercy of every social misdiagnosis handed to him.
Increasingly, the work I'm doing is in service to an idea rather than just to see what something looks like photographed. I'm trying to explore how I feel about something through photography.
She screamed, the high scream that was neither human nor animal but something terrible in between, the sort of sound that you never forget no matter how many beautiful things you hear afterward.
Music really isn’t supposed to be perfect. It’s all about people relating to each other and doing something that’s really from the soul. It must come from the soul.
The reality of a poem is a very ghostly one. It suggests, it suggests, it suggests again.
We may feel bitterly how little our poems can do in the face of seemingly out-of-control technological power and seemingly limitless corporate greed, yet it has always been true that poetry can break isolation, show us to ourselves when we are outlawed or made invisible, remind us of beauty where no beauty seems possible, remind us of kinship where all is represented as separation.
The whole world, as we experience it visually, comes to us through the mystic realm of color.
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