Francine Prose Quotes

I waited for dawn, but only because I had forgotten how hard mornings were. For a second I'd be normal. Then came the dim awareness of something off, out of place. Then the truth came crashing down and that was it for the rest of the day. Sunlight was reproof. Shouldn't I feel better than I had in the dead of night.

The mystery of death, the riddle of how you could speak to someone and see them every day and then never again, was so impossible to fathom that of course we kept trying to figure it out, even when we were unconscious.

People see everything through the lens of their obsessions.

I’ve always found that the better the book I’m reading, the smarter I feel, or, at least, the more able I am to imagine that I might, someday, become smarter.

We never believe we're beautiful, no matter how many times we hear it. We never believe it until someone says it in the right way.

Like seeing a photograph of yourself as a child, encountering handwriting that you know was once yours but that now seems only dimly familiar can inspire a confrontation with the mystery of time.

With so much reading ahead of you, the temptation might be to speed up. But in fact it’s essential to slow down and read every word. Because one important thing that can be learned by reading slowly is the seemingly obvious but oddly underappreciated fact that language is the medium we use in much the same way a composer uses notes, the way a painter uses paint. I realize it may seem obvious, but it’s surprising how easily we lose sight of the fact that words are the raw material out of which literature is crafted.

Too often students are being taught to read as if literature were some kind of ethics class or civics class—or worse, some kind of self-help manual. In fact, the important thing is the way the writer uses the language.

What I love is how pissed off Jane Eyre is. She's in a rage for the whole novel and the payoff is she gets to marry this blind guy who's toasted his wife in the attic." -Angela Argo "Blue Angel

[It] began to seem amazing how often it was assumed that having a vagina automatically meant I was less intelligent, talented, capable, and interesting than the world's least interesting human being who happened to have a penis.

We don't know what we'd do. Nobody knows what accident of fate or DNA or character will determine how we act when the shit hits the fan.

Reading Chekhov, I felt not happy, exactly, but as close to happiness as I knew I was likely to come. And it occurred to me that this was the pleasure and mystery of reading, as well as the answer to those who say that books will disappear. For now, books are still the best way of taking great art and its consolations along with us on a bus.

To be truthful, some writers stop you dead in your tracks by making you see your own work in the most unflattering light. Each of us will meet a different harbinger of personal failure, some innocent genius chosen by us for reasons having to do with what we see as our own inadequacies. The only remedy to this I have found is to read a writer whose work is entirely different from another, though not necessarily more like your own—a difference that will remind you of how many rooms there are in the house of art.

I'm out of the equation, an innocent bystander at the major love affair Joan is having with Joan

What’s strange is how many beginning writers seem to think that grammar is irrelevant, or that they are somehow above or beyond this subject more fit for a schoolchild than the future author of great literature.

Something about the beauty of the library and how many books there were made me feel really eager to read, and I couldn't wait to get some free time so I could go back there and explore.

And there was that trick he did with time, making it speed up when we were together and drag til I saw him again.

Throughout her life, she behaved as if she had never heard anyone suggest that a woman couldn't do entirely as she pleased.

There are some people who remain your best friends even if you haven’t seen them for ages, and others with whom you start from scratch every time.

If we want to write, it makes sense to read—and to read like a writer. If we wanted to grow roses, we would want to visit rose gardens and try to see them the way that a rose gardener would.

the truth is that grammar is always interesting, always useful. Mastering the logic of grammar contributes, in a mysterious way that again evokes some process of osmosis, to the logic of thought.

vinegar of the interrogator with the oil of a flirt,

So it may be that reading your work aloud will not only improve its quality but save your life in the process.

All of us have observed how often our erotic attractions reflect a mysterious but consistent taste, almost as if we were ordering a favorite dish

It is the rarest of qualities: to feel something—anything—for someone beside yourself. And in my experience it is rarer still to have empathy for people you don’t know.

There are many occasions in literature in which telling is far more effective than showing.

A woman would have to be crazy to marry, or even have sex with, a man who would prosecute every lover’s quarrel like a criminal case

Books for Banned Love Sea of Poppies, by Amitav Ghosh The English Patient, by Michael Ondaatje Euphoria, by Lily King The Red and the Black, by Stendahl Luster, by Raven Leilani Asymmetry, by Lisa Halliday All the Pretty Horses, by Cormac McCarthy Middlesex, by Jeffrey Eugenides The Vixen, by Francine Prose Legends of the Fall, by Jim Harrison The Winter Soldier, by Daniel Mason

Only a natural writer could sound as if she is not writing so much as thinking on the page.

Consequently, we sympathize. We identify. We care. In fact, most writers would like you to identify

Like the one-sentence paragraph, the second-person point of view can also make us suspect that style is being used as a substitute for content.

Every page was once a blank page, just as every word that appears on it now was not always there, but instead reflects the final result of countless large and small deliberations.

good writing should be grasped at once—in a second.

Paris is an insomniac’s heaven. There is always something to photograph, something hidden in the shadows. One can see so much more in the darkness than in the light of day.

AMONG THE DEMONS that taunt a writer before he can open a vein and write in his own blood are the devils that whisper: Are you brave enough to tell the truth?

Read your work aloud, if you can, if you aren't too embarrassed by the sound of your voice ringing out when you are alone in a room. Chances are that the sentence you can hardly pronounce without stumbling is a sentence that needs to be reworked to make it smoother and more fluent. A poet once told me that he was reading a draft of a new poem aloud to himself when a thief broke into his Manhattan loft. Instantly surmising that he had entered the dwelling of a madman, the thief turned and ran without taking anything, and without harming the poet. So it maybe that reading your work aloud will not only improve its quality but save your life in the process.

[Referring to passage by Alice Munro] Finally, the passage contradicts a form of bad advice often given young writers -- namely, that the job of the author is to show, not tell. Needless to say, many great novelists combine "dramatic" showing with long sections of the flat-out authorial narration that is, I guess, what is meant by telling. And the warning against telling leads to a confusion that causes novice writers to think that everything should be acted out -- don't tell us a character is happy, show us how she screams "yay" and jumps up and down for joy -- when in fact the responsibility of showing should be assumed by the energetic and specific use of language.

Every so often I'll hear writers say that there are other writers they would read if for no other reason than to marvel at the skill with which they can put together the sort of sentences that move us to read closely, to disassemble and reassemble them, much the way a mechanic might learn about an engine by taking it apart.

Anne is remarkably restrained in calibrating the amount of fear she will admit into the diary. The air raids, the break-ins, and the brutality reported by the helpers and glimpsed from the window appear at regular intervals, so that the reader can never fully relax.

Reading was like eating alone, with that same element of bingeing.

Because the diary was not written in retrospect, it contains the trembling life of every moment.

Isolated in the attic, Anne could only examine her own history and her own conscience, and try to locate the wellspring of her sadness and her rage.

The chill lowered my defenses, and I caught a fever. A fever to understand.

Love is strange” was what everyone said. It was practically the club motto.

Yvonne had created this place for her and for others like her: born into the wrong life, the wrong body, an innocent victim of God’s mistake.

Francine Prose’s Blue Angel, Richard Russo’s Straight Man, John Irving’s The Water-Method Man. He doesn’t

Saying good-bye to a city is harder than breaking up with a lover. The grief and regret are more piercing because they are more complex and unmixed, changing from corner to corner, with each passing vista, each shift of the light. Breaking up with a city is unclouded by the suspicion that after the affair ends, you'll learn something about the beloved you wished you never knew. The city is as it will remain: gorgeous, unattainable, going on without you as if you'd never existed. What pain and longing the lover feels as he bids farewell to a tendril of ivy, a flower stall, the local butcher. The charming café where he meant to have coffee but never did.

A neighbor once told me he had trouble with García Márquez’s novel because he likes to drink while he reads, and 'The Autumn of the Patriarch' gave him no space in which to take a sip of his beer.

So perhaps the correct conclusion is that Green was less attuned to how people sound when they speak - the actual words and expressions they employ - than to what they mean. This notion of dialogue as a pure expression of character that...transcends the specifics of time and place may be partly why the conversations in the works of writers such as Austen and Bronte often sound fresh and astonishingly contemporary...

The Nazis understood how useful it was to prevent the camp guards from identifying with the prisoners, to emphasize the otherness, the difference of the people whom the boxcars brought to Sobibor and Treblinka.

I am struck most strongly by her introspection, solitude, perfect self-awareness and sense of purpose…The beauty and truth of her words have transcended the limits placed upon her life by the darkness of human nature.

Though what is as sexy, as sweetly taboo as money? So secret, so unspeakable even among dear friends? How much did daddy leave you? How much did you get for that painting? How did you buy that fancy car with no visible means of employment? I have friends who tell me about every kinky sex act, the lies they tell, the crimes they commit, their intestinal complaints. But they shut up like bad shellfish when you ask what they paid for their house.

It is time for writers to admit that nothing in this world makes sense. Only fools and charlatans think they know and understand everything. The stupider they are, the wider they conceive their horizons to be. And if an artist decides to declare that he understands nothing of what he sees—this in itself constitutes a considerable clarity in the realm of thought, and a great step forward.

Not all great writers may seem great to us, regardless of how often and how hard we try to see their virtues. I know, for example, that Trollope is considered to have been a brilliant novelist, but I’ve never quite understood what makes his fans so fervent. Still, our tastes change as we ourselves change and grow older, and perhaps in a few months or so Trollope will have become my new favorite writer.

To Judy Blume, Ann M. Martin, Lois Lowry, and V. C. Andrews; to Eva Hoffman and Lorrie Moore; to Barbara Trapido, Toni Morrison, and Dostoevsky; to TC Boyle, and Miłosz and Szymborska; to Frank McCourt and Francine Prose; to Márquez and Bukowski—my first loves, my mad loves, my many loves, too many to name.

Sometimes only in retrospect do we realize that we have wasted our best years looking for a lost, inappropriate first love, that our life-changing passion for a particular person was no more than the desire to finally kiss the crooked lower lip of an elementary school principal or the boy on whom we had an unrequited childhood crush.

I felt that I was hearing the answer to a question that I hadn’t known enough to ask.

In the spring of 2007, a staging of Kesselman’s version, directed by Tina Landau at Chicago’s Steppenwolf Theater, seems to have maximized its potential.

Aware of how often she hides her good qualities because she is afraid of being misunderstood or mocked, she accuses herself of being uncharitable, supercilious,

Her mother had responded in kind, and the result was “unpleasantness and misery rebounding all the time.

Anne tells him that his silence is, in a way, like her chatter.

If he looks at me with those eyes that laugh and wink, then it’s just as if a little light goes on inside me.

That’s the difficulty in these times: ideals, dreams, and cherished hopes rise within us, only to meet the horrible truth and be shattered.

There it sat under my skull with my mind gripped in its tentacles. Sometimes dormant. Sometimes awakening and squeezing. Again I would react,

illness of Bep’s father—bad news that makes her want to fall asleep as a release from thinking.

she lacks the nonchalance for conducting deep discussions;

also discovered my inward happiness and my defensive armor of superficiality and gaiety.

Be patient. Life will give you what you need (to write your story).

Maybe real love is being able to ask, Do I have greens in my teeth?

Who would you rather live with, a bunch of bonobos feeling good? Or chimpanzees eating each other's babies? Or humans waterboarding each other and destroying the planet?

Literature not only breaks the rules, but makes us realize that there are none.

I heard he went home to Poughkeepsie and moved back in with his mom.

The ocean knew where her sailor was. We have seen him, said the waves. He is sleeping with us. You will never kiss his lips or feel the weight of his body again.

words are the raw material out of which literature is crafted.

In part what made the club such a haven was its power to make each person feel temporarily less alone.

You think, Fuck it. The guy’s a genius. He deserves her. What is a woman, after all? You are alive and in Paris.

Yes to it all. I had become a puppy that stands on its hind legs and barks when its master fetches its leash.

I was only pretending to be the underpaid, duplicitous, ineffective, struggling teacher of immigrant French. The real Suzanne was the lover and muse of a brilliant artist.

I wanted to know what he thought about my loving a man whose bills were being paid by another woman.

But did I ever get over her? She came to symbolize everything I wanted and would never have.

One: See the two of them everywhere. Contemplate suicide. Would it seem too tourist-y to jump off the Eiffel Tower?

Love is blooming on the riverbanks, in the alleys of Montmartre. Park benches exist for lovers exhausted by excessive kissing.

Don’t come to Paris if you’re planning a solitary hike through a sexual desert.

I was trying to communicate—with nothing so obvious as a smile, but let’s say a smile of the eyes—my admiration for the chic of women in tuxedos escorting women in evening gowns.

Staying awake seemed like a gift until, as so often happens with gifts, it became a burden.

Many people have a gift for language that flows when they are talking and dries up when they are confronted with the blank page,

How ashamed most of us would be, if we were reminded of some past behavior, some attitude that we maintained while under the delusion that we were in love—and were loved in return.

From the beginning, he'd understood what every three-year-old knows: that the vague threat is way scarier than knowing how much trouble, exactly, you're facing.

After all, she’d written a book, for which she deserved some respect, though not as much as she would have if The Vixen were better.

One consolation of age is that you no longer think that everyone is staring at you, probably because they aren’t.

If I were like Lionel, I would write a book: Obvious Lies, Bad Advice, and Wrong Information I’ve Gotten from Men. A book? An encyclopedia! But in this case my friend was right.

I discovered how reading a book can make you want to write one.

The right wing runs on rage, which is the fuel of convenience when you run out of truth.

Stories aren’t about things. Stories are things. Stories aren’t about actions. Stories are, unto themselves, actions.

The Good Lord Bird by James McBride The Sarah Book by Scott McClanahan Dept. of Speculation by Jenny Offill My Life with Bob by Pamela Paul True Grit by Charles Portis Mister Monkey by Francine Prose Excellent Women by Barbara Pym American Pastoral by Philip Roth All That Is by James Salter The Patrick Melrose Novels by Edward St. Aubyn Love, Nina by Nina Stibbe

I’ve always thought that a close-reading course should at least be a companion, if not an alternative, to the writing workshop. Though it also doles out praise, the workshop most often focuses on what a writer has done wrong, what needs to be fixed, cut, or augmented. Whereas reading a masterpiece can inspire us by showing us how a writer does something brilliantly.

I dropped a word from the string of negative adjectives that had trailed behind me like tin cans behind the village idiot. Unappreciated, unloved, unmarried. But no longer unpublished.

I have one outstanding trait in my character, which must strike anyone who knows me for any length of time, and that is my self-knowledge. I can watch myself and my actions, just like an outsider.

I never conceived of myself as participating in some Oedipal anxiety about literary predecessors. Perhaps this is one of the great gifts of being a feminist: you’re off the hook from all that crap.

Don’t order boeuf bourguignon if you’re a vegetarian, don’t venture into the tearooms if you don’t like ladies with lapdogs. Don’t come to Paris if you’re planning a solitary hike through a sexual desert.

The Good Lord Bird by James McBride The Sarah Book by Scott McClanahan Dept. of Speculation by Jenny Offill My Life with Bob by Pamela Paul True Grit by Charles Portis Mister Monkey by Francine Prose Excellent Women by Barbara Pym American Pastoral by Philip Roth All That Is by James Salter The Patrick Melrose Novels by Edward St. Aubyn Love, Nina by Nina Stibbe Brother of the More Famous Jack by Barbara Trapido

You will do yourself a disservice if you confine your reading to the rising star whose six-figure, two-book contract might seem to indicate where your own work should be heading. I’m not saying you shouldn’t read such writers, some of whom are excellent and deserving of celebrity. I’m only pointing out that they represent the dot at the end of the long, glorious, complex sentence in which literature has been written.

My publishers, two Catalan brothers with an inherited income, took me out to lunch to inform me that the first print run would be only five hundred copies. Five hundred readers? I accept! And the lunch was delicious.

Hemingway should have stayed in the Midwest. He ruined things for the rest of us, telling all those lies. The lie about courage, the lie about every red-blooded male needing to kill a bull or climb Mount Kilimanjaro.

from the earliest passages to the diary’s final entry, in which she talks about her “dual personality,” the lighthearted, superficial side that lies in wait to ambush and push away her “better, deeper, and purer” self.

Let me digress a moment to talk about beginnings. How much simpler life would be if we were wise enough to stop at the first blush of romance, the start of a business transaction or a casual friendship. If we knew enough to pause and think: this is as good as it gets. Everything will go downhill from this moment on. So once again our instincts are the opposite of what they should be, propelling us forward exactly when they should be holding us back.

Two: Distract yourself. Paris has something for everyone. Let’s imagine you are feeling slightly disenchanted with women. Dozens of places will persuade you that a beautiful woman is nothing more than a beautiful man in a dress.

convinced us that she is telling the truth as she describes the world around her and looks inward, as if her private self is a foreign country whose geography and customs she is struggling to understand so that she can live there.

But love is strange, as they used to say at the Chameleon Club. Even those of us who value intelligence over appearance have discovered, to our chagrin, that a high IQ doesn't necessarily translate into kindness or even conscience.

she takes me so seriously, much too seriously, and then thinks about her queer little sister for a long time afterwards, looks searchingly at me, at every word I say, and keeps on thinking: ‘Is this just a joke or does she really mean it?

I twist my heart round again, so that the bad is on the outside and the good is on the inside, and keep trying to find a way of becoming what I would so like to be, and what I could be, if…there weren’t any other people living in the world.

Like, for example, sleeve length. Should he hide the tattoos? Or just wear a T-shirt and let "them" do the talking? If one picture's worth a thousand words, that's the first two thousand right there, two thousand minus the hi howareya nicetameetcha.

She told me the French expression [Esprit de l'escalier]—the spirit of the staircase—for the voice that catches up with you, minutes after the fact, to make fun of whatever you said and come up with the perfect answer you didn't think of. We even had our own code phrase: SOS, we called it.

Fans of the Peanuts comic strip may also remember Snoopy beginning his novel again and again, always starting with the line 'It was a dark and stormy night' ... In fact, since 1982, San Jose State University has run a writing contest inspired by 'It was a dark and stormy night' ... Charles Dickens opens stave one of A Christmas Carol with 'Once upon a time' ... Similarly, James Joyce's A Portrait of the Artist As a Young Man begins: 'Once upon a time' ... and Madeleine L'Engle begins A Wrinkle in Time with the very words 'It was a dark and stormy night.' (From Intro by Francine Prose)

He claimed to be a Marxist, the only one of his claims I believed. He had that Marxist passion for oysters and good Sancerre, and that Marxist paralysis when the waiter brought the check. Already it’s obvious how much the Communists got wrong, overbetting on human high-mindedness, lowballing human desire.

Once we know that something turned out all right, that we navigated a rough patch more or less intact, it becomes harder to pity our younger self or remember the grief and confusion, the dread of the disaster that didn’t happen, the panic of the deer frozen in the headlights of the car that stopped in time.

is starting to happen between the two teenagers: “It gave me a queer feeling each time I looked into his deep blue eyes, and he sat there with that mysterious laugh playing round his lips…and with my whole heart I almost beseeched him: oh, tell me, what is going on inside you, oh, can’t you look beyond this ridiculous chatter?

You know who they wanted to play Rick?" Aaron asked. I shook my head. Why was I so tense? Didn't Aaron's question prove that we were just a couple of old-movie fans swapping Hollywood trivia gossip? "Ronald Reagan," said Aaron. "The worst president ever," I said. "You weren't born yet," he said. "What difference does that make?" I said.

The eyes of someone you kill are immortal, if they face you at the fatal instant. They have a terrible black color. They shake you more than the streams of blood and the death rattles, even in a great turmoil of dying. The eyes of the killed, for the killer, are his calamity if he looks into them. They are the blame of the person he kills.

Nabokov, Heinrich von Kleist, Raymond Carver, Jane Bowles, James Baldwin, Alice Munro, Mavis Gallant—the list goes on and on. They are the teachers to whom I go, the authorities I consult, the models that still help to inspire me with the energy and courage it takes to sit down at a desk each day and resume the process of learning, anew, to write.

The repetitions, meaningless expressions, stammers, and nonsensical monosyllables with which we express hesitation, along with the clichés and banalities that constitute so much of everyday conversation, cannot and should not be used when our characters are talking. Rather, they should speak more fluently than we do, with greater economy and certitude.

But briefly, Theresa’s case has been diagnosed as one of acute hallucinatory psychosis, brought on by a particularly difficult and prolonged adolescent psychosexual adjustment, no doubt aggravated by a somewhat obsessional religious nature. What that means in layman’s terms is—as I’m sure you know—Theresa has temporarily lost touch with what we call reality.

Sailboat Table (table by Quint Hankle) The Voyage of the Narwhal, by Andrea Barrett Complete Stories, by Clarice Lispector Boy Kings of Texas, by Domingo Martinez The Marrow Thieves, by Cherie Dimaline A Brief History of Seven Killings, by Marlon James There There, by Tommy Orange Citizen: An American Lyric, by Claudia Rankine Underland, by Robert Macfarlane The Undocumented Americans, by Karla Cornejo Villavicencio Deacon King Kong, by James McBride The Dutch House, by Ann Patchett Will and Testament, by Vigdis Hjorth Every Man Dies Alone, by Hans Fallada The Door, by Magda Svabo The Plot Against America, by Philip Roth Fates and Furies, by Lauren Groff The Overstory, by Richard Power Night Train, by Lise Erdrich Her Body and Other Parties, by Carmen Maria Machado The Penguin Book of the Modern American Short Story, edited by John Freeman Between the World and Me, by Ta-Nehisi Coates Birds of America, by Lorrie Moore Mongrels, by Stephen Graham Jones The Office of Historical Corrections, by Danielle Evans Tenth of December, by George Saunders Murder on the Red River, by Marcie R. Rendon Leave the World Behind, by Rumaan Alam Ceremony, by Leslie Marmon Silko On Earth We’re Briefly Gorgeous, by Ocean Vuong The Unwomanly Face of War, by Svetlana Alexievich Standard Deviation, by Katherine Heiny All My Puny Sorrows, by Miriam Toews The Death of the Heart, by Elizabeth Bowen Mean Spirit, by Linda Hogan NW, by Zadie Smith Being Mortal, by Atul Gawande Americanah, by Chimamanda Ngozi Adichie Firekeeper’s Daughter, by Angeline Boulley Erasure, by Percival Everett Sharks in the Time of Saviors, by Kawai Strong Washburn Heaven, by Mieko Kawakami Books for Banned Love Sea of Poppies, by Amitav Ghosh The English Patient, by Michael Ondaatje Euphoria, by Lily King The Red and the Black, by Stendahl Luster, by Raven Leilani Asymmetry, by Lisa Halliday All the Pretty Horses, by Cormac McCarthy Middlesex, by Jeffrey Eugenides The Vixen, by Francine Prose Legends of the Fall, by Jim Harrison The Winter Soldier, by Daniel Mason

I see the eight of us within our “Secret Annex” as if we were a little piece of blue heaven, surrounded by black, black rain clouds. The round, clearly defined spot where we stand is still safe, but the clouds gather more closely about us and the circle which separates us from the approaching dangers closes more and more tightly. Now we are so surrounded by danger and darkness that we bump against each other, as we search desperately for a means of escape. We all look down below, where people are fighting each other, we look above, where it is quiet and beautiful, and meanwhile we are cut off by the great dark mass.

Reader, I married him. It turned out the sounds I heard coming from the attic weren't the screams of Mr Rochester's mad wife Bertha. It wasn't the wife who burned to death in the fire that destroyed Thornfield Hall and blinded my future husband when he tried to save her. After we'd first got engaged, he'd had to admit that he was already married, and we'd broken off our engagement. He'd asked me to run away with him anyway. Naturally, I'd refused. But later, after we were properly married, he insisted that it hadn't happened that way. It turned out there had been no wife. It turned out that it had been a parrot, screaming in the attic. The parrot had belonged to his wife. She had got it in the islands, where she had also contracted the tropical fever that killed her. She'd died long before I came to work for him as a governess. That was never Bertha, in the attic.

The brief sentence can be just as effective, since what matters is not complexity or decoration but rather intelligibility, grace, and the fact that the sentence should strike us as the perfect vehicle for expressing what it aims to express; the sentence should seem ideally suited to whatever story or novel or essay it happens to appear in.

pick a point of view and stick to it, this, like any “rule,” can be circumvented by any writer skillful enough to get away with it.

The narrator, we learn within moments, is a film school graduate, given to seeing a scene cinematically and thinking metaphorically.

Albanians don’t get dyslexia. It’s a disease Americans invented so they won’t have to admit their kids are retarded.

Caravaggio was a preternaturally modern artist who was obliged to wait for the world to become as modern as he was.

The solitude healed her, night and day. It was never painful like that time she’d spent lost in the other world behind the mirror. She wasn’t lost now. She knew exactly where she was.

She learned to love the darkness, the hours when edges were blurred and the night spoke in its true voice. She learned to love the solitude.

A beautiful sentence is a beautiful sentence, regardless of when it was written, or whether it appears in a play or a magazine article

Why do people only want to hear the story of how a future celebrity got all mixed up and knocked around in the big martini shaker of youth, until something—ambition, resilience, a lucky break, a dear friend’s death—poured out a famous person, alchemically mixologized into a perfect cocktail, refreshing and delicious?

He could be tired- but not asleep. I needed him to wake up.

Minutes after the shootings, everybody’s cell phone rang.

She emerges from the station directly across from the restaurant. And she's right on time. Like magic, Sonya thinks, briefly saddened to realize that this is what magic means now: not being late, not getting lost on the subway. Whatever happened to the fairy godmothers, to all those bunnies yanked out of hats?

Margot used to like describing men as 'my unhappy love affair.' But hadn't that presumed the existence of a happy love affair that made the others unimportant? What is unhappy is the only kind Margo ever has?

Perhaps Aquinas’s notably soft line on gluttony may have had something to do with the fact that the saint was said to have had what today we might call a weight problem.

With so much reading ahead of you, the temptation might be to speed up. But in fact it's essential to slow down and read every word. Because one important thing that can be learned by reading slowly is the seemingly obvious but oddly under-appreciated fact that language is the medium we use in the same way a composer uses notes, the way a painter uses paint. I realize it may seem obvious, but it's surprising how easily we lose sight of the fact that words are the raw material out of which literature is crafted.

The very same government that, by raising taxes, permitting uncontrolled immigration, weakening the military, failing to control the national debt, and fostering skyrocketing unemployment, was making it impossible for them to feed their families and provide better lives for their children. She’d come to tell them that their problems could be solved if they were willing to sacrifice, to transcend their personal interests and become part of something larger. Their needs would be met, their nation restored to its former glory—a process that could start with sports and physical fitness. Who didn’t want their destinies to be more heroic, to surrender to something higher than the question of who cheated which sibling out of an inheritance and

Every song may be someone's personal implement of torture.

The most important things, I told them, were observation and consciousness. Keep your eyes open, see clearly, think about what you see, ask yourself what it means.

Reading can show you how capacious and stretchy fiction is, how much it can accommodate, and how far it has expanded beyond the straight and narrow path from point A to point B.

I liked my students, who were often so eager, bright, and enthusiastic that it took me years to notice how much trouble they had in reading a fairly simple short story. Almost simultaneously, I was struck by how little attention they had been taught to pay to the language, to the actual words and sentences that a writer had used. Instead, they had been encouraged to form strong, critical, and often negative opinions of geniuses who had been read with delight for centuries before they were born. They had been instructed to prosecute or defend these authors,

decision. I was tired of his jealousy, sick of his belief that the only permissible topic of conversation was his unrecognized genius.

Books for Banned Love Sea of Poppies, by Amitav Ghosh The English Patient, by Michael Ondaatje Euphoria, by Lily King The Red and the Black, by Stendhal Luster, by Raven Leilani Asymmetry, by Lisa Halliday All the Pretty Horses, by Cormac McCarthy Middlesex, by Jeffrey Eugenides The Vixen, by Francine Prose Legends of the Fall, by Jim Harrison The Winter Soldier, by Daniel Mason

The Red and the Black, by Stendhal Luster, by Raven Leilani Asymmetry, by Lisa Halliday All the Pretty Horses, by Cormac McCarthy Middlesex, by Jeffrey Eugenides The Vixen, by Francine Prose Legends of the Fall, by Jim Harrison The Winter Soldier, by Daniel Mason Indigenous Lives Holding Our World Together, by Brenda J. Child American Indian Stories, by Zitkála-Šá A History of My Brief Body, by Billy-Ray Belcourt The Falling Sky: Words of a Yanomami Shaman, by Davi Kopenawa and Bruce Albert Apple: Skin to the Core, by Eric Gansworth Heart Berries, by Terese Marie Mailhot The Blue Sky, by Galsan Tschinag Crazy Brave, by Joy Harjo Standoff, by Jacqueline Keeler

Middlesex, by Jeffrey Eugenides The Vixen, by Francine Prose Legends of the Fall, by Jim Harrison The Winter Soldier, by Daniel Mason

Little by little we surfaced from the dark gluey depths of that summer, bobbing into the blinding light we had to relearn how to breathe

seems I have been elected to the American Academy of Arts and Letters. It’s a lifelong appointment and there are no dues, just glory and hobnobbery. I look at the list of current members and feel woozy. In the department of literature, there’s Ann Beattie, Michael Cunningham, Jeffrey Eugenides, Jonathan Franzen, Amy Hempel, Jamaica Kincaid, David Mamet, Lorrie Moore, Joyce Carol Oates, Sharon Olds, Ann Patchett, Jayne Anne Phillips, Francine Prose, Marilynne Robinson, George Saunders, Wallace Shawn, Anne Tyler, Edmund White, Joy Williams, and Tobias Wolff. Really? I think. These people are gods to me. It’s like I’ve been allowed onto Mount Olympus. Then there are the departments of art (Bruce Nauman, Cindy Sherman, Jenny Holzer, Susan Rothenberg), music, and architecture. Honorary members—people whose work falls outside these categories—include Bob Dylan, Meryl Streep, Frederick Wiseman, and Martin Scorsese.

…what matters is not complexity or decoration but rather intelligibility, grace, and the fact that the sentence should strike us as the perfect vehicle for expressing what it aims to express…

The thought crossed my mind, lightly and not long enough to do any lasting damage.

She’d written a book, and I hadn’t, even if her novel was worse than anything I would have written.

the capacity to face unbearable emotions and to offer, by means of laughter, a dividend of forgiveness.

the best comedy is rooted in the capacity to face unbearable emotions and to offer, by means of laughter, a dividend of forgiveness.

I think about Tony when I hear people talking about the crises we face now, saying that they feel helpless, that there's nothing that can be done. I thing about how Tony believed that you had to do something. At least you had to try.

end of this painful story: a man possessed and maddened enough to write such letters, and a bereaved father receiving them, until at last he reached the point at which he refused to read any more.

In any case, it is neither the responsibility nor the purpose of art to make us better human beings. And it’s no wonder that art that takes on this solemn task so often winds up being didactic, preachy, cloying, and less effective than art with a less exalted notion of its purpose.

Nothing fuels bravery more than the lack of the will to live.

It required what a friend calls “putting every word on trial for its life”:

For any writer, the ability to look at a sentence and see what's superfluous, what can be altered, revised, expanded, and, especially, cut, is essential.

...it's worth noting that books are among the few remaining forms of entertainment not sustained by, and meant to further, the interests of advertising. Television, newspapers, and magazines are busily instilling us with new desires and previously unsuspected needs, while books sell only themselves.

Francine Prose's exquisite Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them for a deeper guided practice on the art of reading like a writer.

Teaching students to value literary masterpieces is our best hope of awakening them to the infinite capacities and complexities of human experience, of helping them acknowledge and accept complexity and ambiguity, and of making them love and respect the language that allows us to smuggle out, and send one another, our urgent, eloquent dispatches from the prison of self.

Books are not cake—you and I can devour the same book, and there it remains for us and others to devour all over again.

All the elements of good writing depend on the writer’s skill in choosing one word instead of another. And what grabs and keeps our interest has everything to do with those choices.

Along with preadolescence came a more pressing desire for escape. I read more widely, more indiscriminately, and mostly with an interest in how far a book could take me from my life and how long it could keep me there:

there were many occasions on which I had to skim as rapidly as I could to get through those survey courses that gave us two weeks to finish Don Quixote, ten days for War and Peace, courses designed to produce college graduates who could say they’d read the classics. By then I knew enough to regret reading those books that way. And I promised myself that I would revisit them as soon as I could give them the time and attention they deserved.

Cure sometimes, heal frequently, comfort always.

Every page was once a blank page, just as every word that appears on it now was not always there, but instead reflects the final result of countless large and small deliberations. All the elements of good writing depend on the writer's skill in choosing one word instead of another. And what grabs and keeps our interest has everything to do with those choices.

the repeated invocations of certitude) implies. And we are reminded of how