Great Throughts Treasury

"We are not talking here about the kind of notebook that is patently for public consumption, a structural conceit for binding together a series of graceful pens‚es. We are talking about something private, about bits of the mind?s string too short to use, an indiscriminate and erratic assemblage with meaning only for its maker."

"We are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at am of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget."

"We closed the deal and moved to New York. Where in fact I had lived before, from the time I was twenty-one and just out of the English Department at Berkeley and starting work at Vogue (a segue so profoundly unnatural that when I was asked by the Cond‚ Nast personnel department to name the languages in which I was fluent I could think only of Middle English) until I was twenty-nine and just married."

"Water is important to people who do not have it, and the same is true of control."

"We are imperfect mortal beings, aware of that mortality even as we push it away, failed by our very complication, so wired that when we mourn our losses we also mourn, for better or for worse, ourselves. As we were. As we are no longer. As we will one day not be at all."

"We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were."

"We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the ideas with which we have learned to freeze the shifting phantasmagoria which is our actual experience."

"Western Attitudes Toward Death."

"What does it cost to lose those weeks, that light, the very nights in the year preferred over all others? Can you evade the dying of the brightness? Or do you evade only its warning? Where are you left if you miss the message the blue nights bring?"

"What I want to tell you today is not to move into that world where you're alone with yourself and your mantra and your fitness program or whatever it is that you might use to try to control the world by closing it out. I want to tell you just to live in the mess. Throw yourself out into the convulsions of the world. I'm not telling you to make the world better, because I don't believe progress is necessarily part of the package. I'm telling you to live in it. Try and get it. Take chances, make your own work, take pride in it. Seize the moment."

"We write to discover what we think."

"We imagined we knew everything the other thought, even when we did not necessarily want to know it, but in fact, I have come to see, we knew not the smallest fraction of what there was to know."

"We tell ourselves stories in order to live. The princess is caged in the consulate. The man with the candy will lead the children into the sea. The naked woman on the ledge outside the window on the sixteenth floor is a victim of accident, or the naked woman is an exhibitionist, and it would be 'interesting' to know which. We tell ourselves that it makes some difference whether the naked woman is about to commit a mortal sin or is about to register a political protest or is about to be, the Aristophanic view, snatched back to the human condition by the fireman in priest's clothing just visible in the window behind her, the one smiling at the telephoto lens. We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely... by the imposition of a narrative line upon disparate images, by the 'ideas' with which we have learned to freeze the shifting phantasmagoria ? which is our actual experience."

"We were that generation called ''silent,'' but we were silent neither, as some thought, because we shared the period's official optimism nor, as others thought, because we feared its official repression. We were silent because the exhilaration of social action seemed to many of us just one more way of escaping the personal, of masking for a while that dread of the meaningless which was man's fate."

"We were not having any fun, he had recently begun pointing out. I would take exception (didn't we do this, didn't we do that) but I had also known what he meant. He meant doing things not because we were expected to do them or had always done them or should do them but because we wanted to do them. He meant wanting. He meant living."

"What's so hard about that first sentence is that you're stuck with it. Everything else is going to flow out of that sentence. And by the time you've laid down the first two sentences, your options are all gone."

"When I am near the end of a book, I have to sleep in the same room with it."

"What these men represented was not 'The West' but what was for this century a relatively new kind of monied class in America, a group devoid of social responsibilities because their ties to any one place had been so attenuated."

"When we start deceiving ourselves into thinking not that we want something or need something, not that it is a pragmatic necessity for us to have it, but that it is a moral imperative that we have it, then is when we join the fashionable madmen, and then is when the thin whine of hysteria is heard in the land, and then is when we are in bad trouble."

"When I began writing these pages I believed their subject to be children, the ones we have and the ones we wish we had, the ways in which we depend on our children to depend on us, the ways in which we encourage them to remain children, the ways in which they remain more unknown to us than they do to their more casual acquaintances; the ways in which we remain equally opaque to them."

"Why do you always have to be right. Why do you always have to have the last word. For once in your life just let it go."

"Writing fiction is for me a fraught business, an occasion of daily dread for at least the first half of the novel, and sometimes all the way through. The work process is totally different from writing nonfiction. You have to sit down every day and make it up."

"When I'm working on a book, I constantly retype my own sentences. Every day I go back to page one and just retype what I have. It gets me into a rhythm."

"Why do we like these stories so? Why do we tell them over and over? Why have we made a folk hero of a man who is the antithesis of all our official heroes, a haunted millionaire out of the West, trailing a legend of desperation and power and white sneakers? But then we have always done that. Our favorite people and our favorite stories become so not by any inherent virtue, but because they illustrate something deep in the grain, something unadmitted. Shoeless Joe Jackson, Warren Gamaliel Harding, The Titanic: how the might are fallen. Charles Lindbergh, Scott and Zelda Fitzgerald, Marilyn Monroe: the beautiful and damned. And Howard Hughes. That we have made a hero of Howard Hughes tells us something interesting about ourselves, something only dimly remembered, tells us that the secret point of money and power in America is neither the things that money can buy nor power for power's sake (Americans are uneasy with their possessions, guilty about power, all of which is difficult for Europeans to perceive because they are themselves so truly materialistic, so versed in the uses of power), but absolute personal freedom, mobility, privacy. Is is the instinct which drove America to the Pacific, all through the nineteenth century, the desire to be able to find a restaurant open in case you want a sandwich, to be a free agent, live by one's own rules."

"Writers are always selling somebody out."

"Writing is hostile in that you're trying to make somebody see something the way you see it, trying to impose your idea, your picture. It's hostile to try to wrench around someone else's mind that way. Quite often you want to tell somebody your dream, your nightmare. Well, nobody wants to hear about someone else's dream, good or bad; nobody wants to walk around with it. The writer is always tricking the reader into listening to the dream."

"Yes, but another writer I read in high school who just knocked me out was Theodore Dreiser. I read An American Tragedy all in one weekend and couldn't put it down - I locked myself in my room. Now that was antithetical to every other book I was reading at the time because Dreiser really had no style, but it was powerful."

"You had to feel the swell change. You had to go with the change. He told me that. No eye is on the sparrow but he did tell me that."

"You couldn't pay for her hats,' her father, a ship's captain, had told her suitors by way of discouragement, and perhaps they had all been discouraged but my grandfather, an innocent from the Georgetown Divide who read books."

"You have to pick the places you don't walk away from."

"You have your wonderful memories, people said later, as if memories were solace. Memories are not. Memories are by definition of times past, things gone. Memories are the Westlake uniforms in the closet, the faded and cracked photographs, the invitations to the weddings of the people who are no longer married, the mass cards from the funerals of the people whose faces you no longer remember. Memories are what you no longer want to remember."

"You think you have some stable talent that will show no matter what you're writing, and if it doesn't seem to be getting across to the audience once, you can't imagine that moment when it suddenly will. Gradually, gradually you gain that confidence."