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.
You must be an artist and a citizen of the world. You must speak to this stuff that's happening. You must do what you can to shine a light on it, help people through it.
To evade such temptations is the first duty of the poet. For as the ear is the antechamber to the soul, poetry can adulterate and destroy more surely then lust or gunpowder. The poet's, then, is the highest office of all. His words reach where others fall short. A silly song of Shakespeare's has done more for the poor and the wicked than all the preachers and philanthropists in the world.
You have to appreciate the spiritual component of having an opportunity to do something as wondrous as writing. You should be practical and smart and you should have a good agent and you should work really, really hard. But you should also be filled with awe and gratitude about this amazing way to be in the world.
Obviously I am a photographer and I believe in my medium: I do think that powerful photographs can force change. It doesn't take long to look and be engaged in a strong image whereas, with a story, you have to actually sit down and pause and be involved in it.
Art, in itself, is an attempt to bring order out of chaos.
Imagination is the key to my lyrics. The rest is painted with a little science fiction.
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