Eudora welty quotes

A sheltered life can be a daring life as well. For all serious daring starts from within.

Southerners love a good tale. They are born reciters, great memory retainers, diary keepers, letter exchangers . . . great talkers.

To imagine yourself inside another person...is what a story writer does in every piece of work; it is his first step, and his last too, I suppose.

Relationship is a pervading and changing mystery... brutal or lovely, the mystery waits for people wherever they go, whatever extreme they run to.

For the source of the short story is usually lyrical. And all writers speak from, and speak to, emotions eternally the same in all of us: love, pity, terror do not show favorites or leave any of us out.

It's the form it takes when it comes out the other side, of course, that gives a story something unique--its life. The story, in the way it has arrived at what it is on the page, has been something learned, by dint of the story's challenge and the work that rises to meet it--a process as uncharted for the writer as if it had never been attempted before.

No blur of inexactness, no cloud of vagueness, is allowable in good writing; from the first seeing to the last putting down, there must be steady lucidity and uncompromise of purpose.

Never think you've seen the last of anything.

Learning stamps you with its moments. Childhood's learning is made up of moments. It isn't steady. It's a pulse.

Writing a story or a novel is one way of discovering sequence in experience, of stumbling upon cause and effect in the happenings of a writer's own life.

The mystery in how little we know of other people is no greater than the mystery of how much, Laurel thought.

My continuing passion is to part a curtain, that invisible veil of indifference that falls between us and that blinds us to each other's presence, each other's wonder, each other's human plight.

Laurel could not see her face but only the back of her neck, the most vulnerable part of anybody, and she thought: Is there any sleeping person you can be entirely sure you have not misjudged?

I'm a great reader that never has time to read.

Characters take on life sometimes by luck, but I suspect it is when you can write more entirely out of yourself, inside the skin, heart, mind, and soul of a person who is not yourself, that a character becomes in his own right another human being on the page.

A story is not the same thing when it ends as it was when it began.

[William Eggleston] sets forth what makes up our ordinary world. What is there, however strange, can be accepted without question; familiarity will be what overwhelms us.

Children, like animals use all their senses to discover the world. Then artists come along and discover it the same way...Or now and then we'll hear from an artisit who's never lost it.

For the night was not impartial. No, the night loved some more than others, served some more than others.

Both reading and writing are experiences--lifelong-- in the course of which we who encounter words used in certain ways are persuaded by them to be brought mind and heart within the presence, the power, of the imagination.

I believe the alphabet is no longer considered an essential piece of equipment for traveling through life. In my day it was the keystone to knowledge. You learned the alphabet as you learned to count to ten, as you learned "Now I lay me" and the Lord's Prayer and your father's and mother's name and address and telephone number, all in case you were lost.

I get a moral satisfaction out of putting things together.

What I do in the writing of any character is to try to enter into the mind, heart and skin of a human being who is not myself. It is the act of a writer's imagination that I set the most high.

I read library books as fast as I could go, rushing them home in the basket of my bicycle. From the minute I reached our house, I started to read. Every book I seized on, from “Bunny Brown and His Sister Sue at Camp Rest-a-While” to “Twenty Thousand Leagues Under the Sea,” stood for the devouring wish to read being instantly granted. I knew this was bliss, knew it at the time. Taste isn’t nearly so important; it comes in its own time.

Once you're into a story everything seems to apply-what you overhear on a city bus is exactly what your character would say on the page you're writing. Wherever you go, you meet part of your story.

Look for where the sky is brightest along the horizon. That reflects the nearest river. Strike out for a river and you will find habitation.

Beware of a man with manners.

No art ever came out of not risking your neck.

Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them. I suppose it’s an early form of participation in what goes on. Listening children know stories are there. When their elders sit and begin, children are just waiting and hoping for one to come out, like a mouse from its hole.

Reading Chekhov was just like the angels singing to me.

But how much better, in any case, to wonder than not to wonder, to dance with astonishment and go spinning in praise, than not to know enough to dance or praise at all; to be blessed with more imagination than you might know at the given moment what to do with than to be cursed with too little to give you -- and other people -- any trouble.

I cannot remember a time when I was not in love with them--with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself.

Any room in our house at any time in the day was there to read in or to be read to.

Integrity can be neither lost nor concealed nor faked nor quenched nor artificially come by nor outlived, nor, I believe, in the long run, denied.

One place comprehended can make us understand other places better.

A thing is incredible, if ever, only after it is told -- returned to the world it came out of.

Writers and travelers are mesmerized alike by knowing of their destinations.

One place understood helps us understand all places better

My own words, when I am at work on a story, I hear too as they go, in the same voice that I hear when I read in books. When I write and the sound of it comes back to my ears, then I act to make changes. I have always trusted this voice.

My mother read secondarily for information; she sank as a hedonist into novels. She read Dickens in the spirit in which she would have eloped with him.

Since we must and do write each our own way, we may during actual writing get more lasting instruction not from another's work, whatever its blessings, however better it is than ours, but from our own poor scratched-over pages. For these we can hold up to life. That is, we are born with a mind and heart to hold each page up to, and to ask: is it valid?

Every story would be another story, and unrecognizable if it took up its characters and plot and happened somewhere else ... Fiction depends for its life on place. Place is the crossroads of circumstance, the proving ground of, What happened? Who's here? Who's coming?

The mystery lies in the use of language to express human life.

Out of love you can speak with straight fury.

Is there any sleeping person you can be entirely sure you have not misjudged?

I learned quickly enough when to click the shutter, but what I was becoming aware of more slowly was a story-writer's truth: The thing to wait on, to reach for, is the moment in which people reveal themselves... I learned from my own pictures, one by one, and had to; for I think we are the breakers of our own hearts.

All experience is an enrichment rather than an impoverishment.

There is absolutely everything in great fiction but a clear answer.

Plots are ... what the writer sees with.

Fantasy is no good unless the seed it springs from is a truth, a truth about human beings.

Ever since I was first read to, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It isn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the story or the poem itself.

To open up the new, to look back on the old may bring forth like discoveries in the practice of art.

She read Dickens in the spirit in which she would have eloped with him.

All good writers speak in honest voices and tell the truth.

I had to grow up and learn to listen for the unspoken as well as the spoken-and to know a truth.

Don't give anybody up." He stroked her. "Or leave anybody out. Me and you both left her out today, and I'm ashamed for us." "There just wasn't room in today for it ... He said, "There's room for everything, and time for everybody, if you take your day the way it comes along and try not to be much later than you can help."

Indeed, learning to write may be part of learning to read. For all I know, writing comes out of a superior devotion to reading.

There's still a strange moment with every book when I move from the position of writer to the position of reader and I suddenly see my words with the eyes of the cold public. It gives me a terrible sense of exposure, as if I'd gotten sunburned.

The writing of a novel is taking life as it already exists, not to report it but to make an object, toward the end that the finished work might contain this life inside it and offer it to the reader. The essence will not be, of course, the same thing as the raw material; it is not even of the same family of things. The novel is something that never was before and will not be again.

I wanted to read immediately. The only fear was that of books coming to an end.

The events in our lives happen in a sequence in time, but in their significance to ourselves they find their own order the continuous thread of revelation.

Art is never the voice of a country, it is an even more precious thing, the voice of the individual, doing its best to speak, not comfort of any sort, but truth. And the art that speaks it most unmistakably, most directly, most variously, most fully, is fiction.

Insight doesn't happen often on the click of the moment, like a lucky snapshot, but comes in its own time and more slowly and from nowhere but within.

It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass. Yet regardless of where they come from, I cannot remember a time when I was not in love with them - with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself. Still illiterate, I was ready for them, committed to all the reading I could give them.

If you haven't surprised yourself, you haven't written.

Beauty is not a means, not a way of furthering a thing in the world. It is a result; it belongs to ordering, to form, to aftereffect.

Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them.

I think that as you learn more about writing you learn to be direct.

To write honestly and with all our powers is the least we can do, and the most.

I was always my own teacher.

Making reality real is art's responsibility.

I like the feeling of being able to confront an experience and resolve it as art.

Fiction shows us the past as well as the present moment in mortal light; it is an art served by the indelibility of our memory, and one empowered by a sharp and prophetic awareness of what is ephemeral. It is by the ephemeral that our feeling is so strongly aroused for what endures.

Greater than scene is situation. Greater than situation is implication. Greater than all of these is a single, entire human being, who will never be confined in any frame.

The fictional eye sees in, through, and around what is really there.

How can you go out on a limb if you do not know your own tree? No art ever came out of not risking your neck. And risk--experiment--is a considerable part of the joy of doing.

People are mostly layers of violence and tenderness wrapped like bulbs, and it is difficult to say what makes them onions or hyacinths.

A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.

Through travel I first became aware of the outside world; it was through travel that I found my own introspective way into becoming a part of it.

Every story teaches you how to write that story but not the next story.

Daydreaming had started me on the way; but story writing once I was truly in its grip, took me and shook me awake.

The novelist works neither to correct nor to condone, not at all to comfort, but to make what's told alive.

When they turned off, it was still early in the pink and green fields. The fumes of morning, sweet and bitter, sprang up where they walked. The insects ticked softly, their strength in reserve; butterflies chopped the air, going to the east, and the birds flew carelessly and sang by fits and starts, not the way they did in the evening in sustained and drowsy songs.

Every story teaches me how to write it. Unfortunately, it doesn't teach me how to write the next one.

A whole tree of lightning stood in the sky. She kept looking out the window, suffused with the warmth from the fire and with the pity and beauty and power of her death. The thunder rolled.

Passion is our ground, our island - do others exist?

Travel itself is part of some longer continuity.

When I was a child and the snow fell, my mother always rushed to the kitchen and made snow ice cream and divinity fudge-egg whites, sugar and pecans, mostly. It was a lark then and I always associate divinity fudge with snowstorms.

When I read, I hear what's on the page. I don't know whose voice it is, but some voice is reading to me, and when I write my own stories, I hear it, too.

The very greatest mystery is in unsheathed reality itself.

Long before I wrote stories, I listened for stories.

Human life is fiction's only theme.

Writing fiction has developed in me an abiding respect for the unknown in a human lifetime and a sense of where to look for the threads, how to follow, how to connect, find in the thick of the tangle what clear line persists.

The first thing we see about a short story is its mystery. And in the best short stories, we return at the last to see mystery again

Suppose you meet me in the woods.

It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming of themselves like grass.

Location pertains to feelings - feelings are bound up in place.

The first act of insight is throw away the labels.

I believe in it, and I trust it too and treasure it above everything, the personal, the personal, the personal! I put my faith in it not only as the source, the ground of meaning in art, in life, but as the meaning itself.

A good snapshot stops a moment from running away.

Each story tells me how to write it, but not the one afterwards.

My main disappointment was always that a book had to end. And then what? But I don't think I was ever disappointed by the books. I must have been what any author would consider an ideal reader. I felt every pain and pleasure suffered or enjoyed by all the characters. Oh, but I identified!

The excursion is the same when you go looking for your sorrow as when you go looking for your joy.

At the time of writing, I don't write for my friends or myself either; I write for it, for the pleasure of it.

Write about what you don't know about what you know.

it doesn t matter if it takes a long time getting there; the point is to have a destination.

Dialogue has to show not only something about the speaker that is its own revelation, but also maybe something about the speaker that he doesn't know but the other character does know.

Each day the storm clouds were opening like great purple flowers and pouring out their dark thunder. Each nightfall, the storm was laid down on their houses like a burden the day had carried.

Great fiction shows us not how to conduct our behavior but how to feel. Eventually, it may show us how to face our feelings and face our actions and to have new inklings about what they mean. A good novel of any year can initiate us into our own new experience.

Radio, sewing machine, bookends, ironing board and that great big piano lamp - peace, that's what I like. Butterbean vines planted all along the front where the strings are.

Time is anonymous; when we give it a face, it's the same face the world over.

Ah, I'm a woman that's been clear around the world in my rocking chair, and I tell you we all get surprises now and then.

Writing is an expression of the writer's own peculiar personality, could not help being so. Yet in reading great works one feels that the finished piece transcends the personal. All writers great and small must sometimes have felt that they have become part of what they wrote even more than it still remains a part of them.

The strands are all there; to the memory nothing is ever lost.

I'm not very eloquent about things like this, but I think that writing and photography go together. I don't mean that they are related arts, because they're not. But the person doing it, I think, learns from both things about accuracy of the eye, about observation, and about sympathy toward what is in front of you... It's about honesty, or truth telling, and a way to find it in yourself, how to need it and learn from it.

The first act of insight is throw away the labels. In fiction, while we do not necessarily write about ourselves, we write out of ourselves, using ourselves; what we learn from, what we are sensitive to, what we feel strongly about--these become our characters and go to make our plots. Characters in fiction are conceived from within, and they have, accordingly, their own interior life; they are individuals every time.

We are the breakers of our own hearts

The challenge to writers today, I think, is not to disown any part of our heritage. Whatever our theme in writing, it is old and tried. Whatever our place, it has been visited by the stranger, it will never be new again. It is only the vision that can be new; but that is enough.

Making reality real is art's responsibility. It is a practical assignment, then, a self-assignment: to achieve, by a cultivated sensitivity for observing life, a capacity for receiving impressions, a lonely, unremitting, unaided, unaidable vision, and transferring this vision without distortion to it onto the pages of a novel, where, if the reader is so persuaded, it will turn into the reader's illusion.

What we know about writing the novel is the novel.

People give pain, are callous and insensitive, empty and cruel...but place heals the hurt, soothes the outrage, fills the terrible vacuum that these human beings make.

Gardening is akin to writing stories. No experience could have taught me more about grief or flowers, about achieving survival by going, your fingers in the ground, the limit of physical exhaustion.

It is our inward journey that leads us through time – forward or back, seldom in a straight line, most often spiraling. Each of us is moving, changing, with respect to others. As we discover, we remember; remembering, we discover; and most intensely do we experience this when our separate journeys converge. Our living experience at those meeting points is one of the charged dramatic fields of fiction.