The idea of some people being less than people is poison to any society and needs to be named as such in order to halt its spread before it turns the soul of a society septic.
Richard FlanaganRead
I never know what I am writing. The moment you know what you're writing, you're writing nothing worth reading.
Interpretation
The quote emphasizes the spontaneity and unpredictability of creative writing.
Richard Flanagan suggests that true creativity comes from a place of uncertainty and exploration. When a writer is overly conscious of their direction or meaning, the work loses its authenticity and depth, becoming mere mechanical expression rather than a genuine exploration of ideas and feelings. It's about trusting the process and allowing creativity to flow without constraints.
In practice
In a writing workshop where participants might feel pressure to conform, this quote can encourage them to embrace their uniqueness.
The idea of some people being less than people is poison to any society and needs to be named as such in order to halt its spread before it turns the soul of a society septic.
My father was a Japanese prisoner of war, a survivor of the Thai-Burma Death Railway, built by a quarter of a million slave labourers in 1943. Between 100,000 and 200,000 died.
If 30 Australians drowned in Sydney Harbour, it would be a national tragedy. But when 30 or more refugees drown off the Australian coast, it is a political question.
Is it easier for a man to live his life again as a fish, than to accept the wonder of being human? So alone, so frightened, so wanting for what we are afraid to give tongue to.
I do not share the pessimism of the age about the novel. They are one of our greatest spiritual, aesthetic and intellectual inventions. As a species it is story that distinguishes us, and one of the supreme expressions of story is the novel. Novels are not content. Nor are they are a mirror to life or an explanation of life or a guide to life. Novels are life, or they are nothing.
After writing a novel, what is there to say? If a novelist could say it in a maxim, they wouldn't need 120,000 words, several years and sundry characters, plots and subplots, and so on. I'd much rather listen always.
My attempt has been really to, beyond making a record of contemporary life, which is what you inevitably do, is trying to make beautiful books - books that are in some way beautiful, that are models of how to use the language, models of honest feeling, models of care.
American writers want to be not good but great; and so are neither.
I discovered writing children's books was a way to keep living in my imagination like a child. So I wrote a number of books before I started 'Magic Tree House.' Then, once I got that, I never looked back because I could be somewhere different in every single book.
Color is my day-long obsession, joy and torment. To such an extent indeed that one day, finding myself at the deathbed of a woman who had been and still was very dear to me, I caught myself in the act of focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face.
The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.
I started under my master, Etienne Decroux, who taught me a new grammar for mime he called statuary mime. This grammar brings style creations. Without it, no art survives.
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