Scenery Writing Quotes

This is what love does: It makes you want to rewrite the world. It makes you want to choose the characters, build the scenery, guide the plot. The person you love sits across from you, and you want to do everything in your power to make it possible, endlessly possible. And when it’s just the two of you, alone in a room, you can pretend that this is how it is, this is how it will be.

When a poet digs himself into a hole, he doesn't climb out. He digs deeper, enjoys the scenery, and comes out the other side enlightened.

Nothing is easier to write than scenery; nothing more difficult and unnecessary to read.

If I'm reading something I happen to know and gets it wrong, I just don't trust the book any more. What I ask of a novel I'm reading is that it should know a fraction more about the things I know than I do. When I'm writing...I ask myself: would I be convinced by this if I read it? If I knocked against this bit of scenery, would it feel solid?

Your life isn't some prerecorded movie where, no matter how many times you watch it, the ending remains the same. Your life is a book in progress, and you are the author. So if you don't care for the main character or the gloomy scenery or how the twisted plot is unfolding, then do something to change it. You write your own story.

I do need that time, though, for Naoko's face to appear. And as the years have passed, the time has grown longer. The sad truth is that what I could recall in five seconds all too needed ten, then thirty, then a full minute-like shadows lengthening at dusk. Someday, I suppose, the shadows will be swallowed up in darkness. There is no way around it: my memory is growing ever more distant from the spot where Naoko used to stand-ever more distant from the spot where my old self used to stand. And nothing but scenery, that view of the meadow in October, returns again and again to me like a symbolic scene in a movie. Each time is appears, it delivers a kick to some part of my mind. "Wake up," it says. "I'm still here. Wake up and think about it. Think about why I'm still here." The kicking never hurts me. There's no pain at all. Just a hollow sound that echoes with each kick. And even that is bound to fade one day. At the Hamburg airport, though, the kicks were longer and harder than usual. Which is why I am writing this book. To think. To understand. It just happens to be the way I'm made. I have to write things down to feel I fully comprehend them.

The next thing Jordana says makes me realize that it's too late to save her. "I've noticed that when you light a match, the flame is the same shape as a falling tear." She's been sensitized, turned gooey in the middle. I saw it happening and I didn't do anything to stop it. From now on, she'll be writing diaries and sometimes including little poems and she'll buy gifts for her favourite teachers and she'll admire the scenery and she'll watch the news and she'll buy soup for homeless people and she'll never burn my leg hair again.

The Chinese say that there is no scenery in your home town. They’re right. Being in another place heightens the senses, allows you to see more, enjoy more, take delight in small things; it makes life richer. You feel more alive, less cocooned.

The artistic methods of poetry, painting, photography, and writing share certain commonalities of deep composition: spirit, rhythm, thought, and scenery.

I think memory is the most important asset of human beings. It’s a kind of fuel; it burns and it warms you. My memory is like a chest: There are so many drawers in that chest, and when I want to be a fifteen-year-old boy, I open up a certain drawer and I find the scenery I saw when I was a boy in Kobe. I can smell the air, and I can touch the ground, and I can see the green of the trees. That’s why I want to write a book.

Life can be reset, it seems to say; time can be separated. But that logic appears to me as unlikely as traveling to another place to become a different person. Altered sceneries are at best distractions, or else new settings for old habits. What one carries from one point to another, geographically or temporally, is one’s self. Even the most inconsistent person is consistently himself.

Writing … is an addiction, an illusory release, a presumptuous taming of reality, a way of expressing lightly the unbearable. That we age and leave behind this litter of dead, unrecoverable selves is both unbearable and the commonest thing in the world — it happens to everybody. In the morning light one can write breezily, without the slight acceleration of one’s pulse, about what one cannot contemplate in the dark without turning in panic to God. In the dark one truly feels that immense sliding, that turning of the vast earth into darkness and eternal cold, taking with it all the furniture and scenery, and the bright distractions and warm touches, of our lives. Even the barest earthly facts are unbearably heavy, weighted as they are with our personal death. Writing, in making the world light — in codifying, distorting, prettifying, verbalizing it — approaches blasphemy.

Humboldt's glorious descriptions are & will for ever be unparalleled: but even he with his dark blue skies & the rare union of poetry with science which he so strongly displays when writing on tropical scenery, with all this falls far short of the truth,he averred." The delight one experiences in such times bewilders the mind; if the eye attempts to follow the flight of a gaudy butter-fly, it is arrested by some strange tree or fruit; if watching an insect one forgets it in the stranger flower it is crawling over; if turning to admire the splendor of the scenery, the individual character of the foreground fixes the attention. The mind is a chaos of delight, out of which a world of future & more quiet pleasure will arise. I am at present fit only to read Humboldt; he like another sun illuminates everything I behold.

The next thing Jordana says makes me realize that it's too late to save her. "I've noticed that when you light a match, the flame is the same shape as a falling tear." She's been sensitized, turned gooey in the middle. I saw it happening and I didn't do anything to stop it. From now on, she'll be writing diaries and sometimes including little poems and she'll buy gifts for her favourite teachers and she'll admire the scenery and she'll watch the news and she'll buy soup for homeless people and she'll never burn my leg hair again.

Writing the middle of a novel is a lot like driving through Texas. You think it's never going to end, and the scenery looks the same.

But reading is different, reading is something you do. With TV, and cinema for that matter, everything’s handed to you on a plate, nothing has to be worked at, they just spoon-feed you. The picture, the sound, the scenery, the atmospheric music in case you haven’t understood what the director’s on about… The creaking door that tells you to be stiff. You have to imagine it all when you’re reading.

I’ve reached that point in my journey, where there is more scenery in the rear view mirror than there is roadway ahead, I now have the time to write. I would rather hit the end of the road at full throttle than coast to a stop in the sunset.

A month has passed since I’ve written, but it has seemed to pass much more slowly. Life passes by now like the scenery outside a car window. I breathe and eat and sleep as I always did, but there seems to be no great purpose in my life that requires active participation on my part. I simply drift along like the messages I write you. I do not know where I am going or when I will get there. Even work does not take the pain away. I may be diving for my own pleasure or showing others how to do so, but when I return to the shop, it seems empty without you. I stock and order as I always did, but even now, I sometimes glance over my shoulder without thinking and call for you. As I write this note to you, I wonder when, or if, things like that will ever stop. Without you in my arms, I feel an emptiness in my soul. I find myself searching the crowds for your face—I know it is an impossibility, but I cannot help myself. My search for you is a never-ending quest that is doomed to fail. You and I had talked about what would happen if we were forced apart by circumstance, but I cannot keep the promise I made to you that night. I am sorry, my darling, but there will never be another to replace you. The words I whispered to you were folly, and I should have realized it then. You—and you alone—have always been the only thing I wanted, and now that you are gone, I have no desire to find another. Till death do us part, we whispered, and I’ve come to believe that the words will ring true until the day finally comes when I, too, am taken from this world.

The pilgrimage of Italy, which I now accomplished, had long been the object of my curious devotion. The passage of Mount Cenis, the regular streets of Turin, the Gothic cathedral of Milan, the scenery of the Boromean Islands, the marble palaces of Genoa, the beauties of Florence, the wonders of Rome, the curiosities of Naples, the galleries of Bologna, the singular aspect of Venice, the amphitheatre of Verona, and the Palladian architecture of Vicenza, are still present to my imagination. I read the Tuscan writers on the banks of the Arno; but my conversation was with the dead rather than the living, and the whole college of Cardinals was of less value in my eyes than the transfiguration of Raphael, the Apollo of the Vatican, or the massy greatness of the Coliseum. It was at Rome, on the fifteenth of October, 1764, as I sat musing amidst the ruins of the Capitol, while the barefooted fryars were singing Vespers in the temple of Jupiter, that the idea of writing the decline and fall of the City first started to my mind. After Rome has kindled and satisfied the enthusiasm of the Classic pilgrim, his curiosity for all meaner objects insensibly subsides.

Darwin, landing in Brazil in 1832, had a similar reaction, colored by his reading of his predecessor." Humboldt's glorious descriptions are & will for ever be unparalleled: but even he with his dark blue skies & the rare union of poetry with science which he so strongly displays when writing on tropical scenery, with all this falls far short of the truth,he averred." The delight one experiences in such times bewilders the mind; if the eye attempts to follow the flight of a gaudy butter-fly, it is arrested by some strange tree or fruit; if watching an insect one forgets it in the stranger flower it is crawling over; if turning to admire the splendor of the scenery, the individual character of the foreground fixes the attention. The mind is a chaos of delight, out of which a world of future & more quiet pleasure will arise. I am at present fit only to read Humboldt; he like another sun illuminates everything I behold.

It was a place of brilliant sunlight, never undappled. Shafts of lemon-gold brilliance lanced down to the forest floor between bars and pools of brown-green shade; and the light was never still, never constant, because drifting mist would often float among the treetops, filtering all the sunlight to a pearly sheen and brushing every pine cone with moisture that glistened when the mist lifted. Sometimes the wetness in the clouds condensed into tiny drops half mist and half rain, which floated downward rather than fell, making a soft rustling patter among the millions of needles. There was a narrow path beside the stream, which led from a village-little more than a cluster of herdsmen's dwellings - at the foot of the valley to a half-ruined shrine near the glacier at its head, a place where faded silken flags streamed out in the Perpetual winds from the high mountains, and offerings of barley cakes and dried tea were placed by pious villagers. An odd effect of the light, the ice, and the vapor enveloped the head of the valley in perpetual rainbows.

Writing is a form of painting with words. Artists of every genre seek to convey every aspect of being, but some internal scenery proves impossible to recreate with word pictures. Writers and poets, past and present, seem to be obsessed with what it means to die, and perpetually haunted by actively imagining how to destroy their own being. Perchance this morbid fascination with eternal silence is because death is the one event that remains outside their ability ever accurately to paint with words.

On reflection, looking at shows like this and considering my own experiences, what fascinated me was that we have so many stories like this that help us empathize with monstrous men. “Yes, these men are flawed, but they are not as evil as this man.” Even more chilling, they tend to be stories that paint women as roadblocks, aggressors, antagonists, complications—but only in the context of them being a bitch, a whore, a Madonna. The women are never people. Stories about monstrous men are not meant to teach us how to empathize with the women and children murdered, but with the men fighting over their bodies. As a woman menaced by monsters, I find this particularly interesting, this erasure of me from a narrative meant to, if not justify, then explain the brokenness of men. There are shows much better at this, of course, which don’t paint women out of the story—Mad Men is the first to come to mind, and Game of Thrones—but True Detective doubled down. The women terrorized by monsters in real life are active agents. They are monster-slayers, monster-pacifiers, monster-nurturers, monster-wranglers—and some of them are monsters, too. In truth, if we are telling a tale of those who fight monsters, it fascinates me that we are not telling more women’s stories, as we’ve spun so many narratives like True Detective that so blatantly illustrate the sexist masculinity trap that turns so many human men into the very things they despise. Where are the women who fight them? Who partner with them? Who overcome them? Who battle their own monsters to fight greater ones? Because I have and continue to be one of those women, navigating a horror show world of monsters and madmen. We are women who write books and win awards and fight battles and carve out extraordinary lives from ruin and ash. We are not background scenery, our voices silenced, our motives and methods constrained to sex. I cannot fault the show’s men for forgetting that; they’ve created the world as they see it. But I can prod the show’s exceptional writers, because in erasing the narrative of those whose very existence is constantly threatened by these monsters, including trusted monsters whose natures vacillate wildly, they sided with the monsters. I’m not a bit player in a monster’s story. But with narratives like this perpetuated across our media, it wouldn’t surprise me if that’s how my obituary read: a catalogue of the men who sired me, and fucked me, and courted me. Stories that are not my own. Funny, isn’t it? The power of story. It’s why I picked up a pen. I slay monsters, too.

Grandma I’ve been writing in names that are missing, the ones I know, which is by no means all of them. That’s what happens, you see. First, there’s no need to write who they are, because everyone knows that’s Great-Aunt Sophia or Cousin Rudi, and then only some of us know, and already we’re asking, ‘Who’s that with Gertrude?’ and ‘I don’t remember this man with the little dog’, and you don’t realise how fast they’re disappearing from being remembered … Wilma It’s still an amazing thing to me, to know the faces of the dead! I can remember Grandpa Jakobovicz’s tobacco-stained whiskers, but his wife died giving birth to Poppa before there were photographs, so now no one knows what she looked like any more than if she’d been some kind of rumour. Grandma Everyone was mad to have a photograph when I was a girl, it was like a miracle and you had to go to a photographer’s to pose for him … wedding couples, soldiers in their first uniforms, children in front of painted scenery … and, always, women dressed up for the carnival ball, posing with a Greek pillar. Later, when we had a camera, there were too many pictures to keep in the album, holiday pictures with real scenery, swimming pictures, pictures of children in dirndl pinafores and lederhosen, like little Austrians. Here’s a couple waving goodbye from the train, but who are they? No idea! That’s why they’re waving goodbye. It’s like a second death, to lose your name in a family album.

It is not easy being seventy-nine and lose your whole life- my life was that girl. I guess that my assignment in life is over my next stop is up on the hill, next to her I presume.' ‘Life goes by like a blink of an eye. I did the best I could, but I frequently wonder if my best was good enough. Maybe, I was too hard on her.' 'Maybe she was unhappy; maybe it was me? The only hobby I have, as I get older is looking at the scenery that surrounds me.' 'Looking over the pond that cascades a reflection of the trees on along the walkway. Plus, stumbling back and forth from the kitchen, I mumble in whispers, remembering her voice in my mind, while trying to write my fragmented thoughts down on paper, as they rush in my head faster than I can scribble with my pencil.' ‘Oddly Nevaeh is the writer I am not, yet I have given her all my notes about my memories.

I walked slowly on, without envying my companions on horseback: for I could sit down upon an inviting spot, climb to the edge of a precipice, or trace a torrent by its sound. I descended at length into the Rheinthal, or Valley of the Rhine; the mountains of Tyrol, which yielded neither in height or in cragginess to those of Appenzel, rising before me. And here I found a remarkable difference: for although the ascending and descending was a work of some labor; yet the variety of the scenes had given me spirits, and I was not sensible of the least fatigue. But in the plain, notwithstanding the scenery was still beautiful and picturesque, I saw at once the whole way stretching before me, and had no room for fresh expectations: I was not therefore displeased when I arrived at Oberried, after a walk of about twelve miles, my coat flung upon my shoulder like a peripatetic by profession. -William Coxe

In 1799, the poet Samuel Taylor Coleridge goes to Germany on a winter walking trip and writes home to his wife about the opposite sense: of winter as a mysterious magnetic season that the wanderer is expelled into for his own good, for the purification and improvement of his soul. “What sublime scenery I have beheld!” Coleridge’s’ words are one of those rare passages of prose that truly mark the arrival of an epoch. It would be impossible to find anything like it in European literature only twenty-five years before… This kind of love of the winter scene is not of the force outside pressing in on the window, bringing family together. Instead it is for the ice-spirit pulling us out. This winter window is wrenched open by the level of the sublime. The new idea (of winter’s beauty) is associated with Edmund Burke’s great essay on the sublime and beautiful from the middle of the eighteenth century. Burke’s was one of the three or four most powerful ideas in the history of thought, because he wrenched aesthetics away from the insipid idea of beauty (physical, manicured) towards recognition of the full span of human sympathy. Oceans and thunderstorms, precipices and abysses, towering volcanoes and, above all, snow-capped mountains- they rival and outdo the heritage of classical beauty exactly because they frighten us; they fill us with fear, with awe, with a sense of the inestimable mystery of the world.

Many people approach Tolstoy with mixed feelings. They love the artist in him and are intensely bored by the preacher; but at the same time it is rather difficult to separate Tolstoy the preacher from Tolstoy the artist—it is the same deep slow voice, the same robust shoulder pushing up a cloud of visions or a load of ideas. What one would like to do, would be to kick the glorified soapbox from under his sandalled feet and then lock him up in a stone house on a desert island with gallons of ink and reams of paper—far away from the things, ethical and pedagogical, that diverted his attention from observing the way the dark hair curled above Anna's white neck. But the thing cannot be done : Tolstoy is homogeneous, is one, and the struggle which, especially in the later years, went on between the man who gloated over the beauty of black earth, white flesh, blue snow, green fields, purple thunderclouds, and the man who maintained that fiction is sinful and art immoral—this struggle was still confined within the same man. Whether painting or preaching, Tolstoy was striving, in spite of all obstacles, to get at the truth. As the author of Anna Karenin, he used one method of discovering truth; in his sermons, he used another; but somehow, no matter how subtle his art was and no matter how dull some of his other attitudes were, truth which he was ponderously groping for or magically finding just around the corner, was always the same truth — this truth was he and this he was an art. What troubles one, is merely that he did not always recognize his own self when confronted with truth. I like the story of his picking up a book one dreary day in his old age, many years after he had stopped writing novels, and starting to read in the middle, and getting interested and very much pleased, and then looking at the title—and seeing: Anna Karenin by Leo Tolstoy. What obsessed Tolstoy, what obscured his genius, what now distresses the good reader, was that, somehow, the process of seeking the Truth seemed more important to him than the easy, vivid, brilliant discovery of the illusion of truth through the medium of his artistic genius. Old Russian Truth was never a comfortable companion; it had a violent temper and a heavy tread. It was not simply truth, not merely everyday pravda but immortal istina—not truth but the inner light of truth. When Tolstoy did happen to find it in himself, in the splendor of his creative imagination, then, almost unconsciously, he was on the right path. What does his tussle with the ruling Greek-Catholic Church matter, what importance do his ethical opinions have, in the light of this or that imaginative passage in any of his novels? Essential truth, istina, is one of the few words in the Russian language that cannot be rhymed. It has no verbal mate, no verbal associations, it stands alone and aloof, with only a vague suggestion of the root "to stand" in the dark brilliancy of its immemorial rock. Most Russian writers have been tremendously interested in Truth's exact whereabouts and essential properties. To Pushkin it was of marble under a noble sun ; Dostoevski, a much inferior artist, saw it as a thing of blood and tears and hysterical and topical politics and sweat; and Chekhov kept a quizzical eye upon it, while seemingly engrossed in the hazy scenery all around. Tolstoy marched straight at it, head bent and fists clenched, and found the place where the cross had once stood, or found—the image of his own self.

My darling son: depression at your age is more common than you might think. I remember it very strongly in Minneapolis, Minnesota, when I was about twenty-six and felt like killing myself. I think the winter, the cold, the lack of sunshine, for us tropical creatures, is a trigger. And to tell you the truth, the idea that you might soon unpack your bags here, having chucked in all your European plans, makes your mother and me as happy as could be. You have more than earned the equivalent of any university 'degree' and you have used your time so well to educate yourself culturally and personally that if university bores you, it is only natural. Whatever you do from here on in, whether you write or don't write, whether you get a degree or not, whether you work for your mother, or at El Mundo, or at La Ines, or teaching at a high school, or giving lectures like Estanislao Zuleta, or as a psychoanalyst to your parents, sisters and relatives, or simply being Hector Abad Faciolince, will be fine. What matters is that you don't stop being what you have been up till now, a person, who simply by virtue of being the way you are, not for what you write or don't write, or for being brilliant or prominent, but just for being the way you are, has earned the affection, the respect, the acceptance, the trust, the love, of the vast majority of those who know you. So we want to keep seeing you in this way, not as a future great author, or journalist or communicator or professor or poet, but as the son, brother, relative, friend, humanist, who understands others and does not aspire to be understood. It does not matter what people think of you, and gaudy decoration doesn't matter, for those of us who know you are. For goodness' sake, dear Quinquin, how can you think 'we support you (...) because 'that boy could go far'? You have already gone very far, further than all our dreams, better than everything we imagined for any of our children. You should know very well that your mother's and my ambitions are not for glory, or for money, or even for happiness, that word that sounds so pretty but is attained so infrequently and for such short intervals (and maybe for that very reason is so valued), for all our children, but that they might at least achieve well-being, that more solid, more durable, more possible, more attainable word. We have often talked of the anguish of Carlos Castro Saavedra, Manuel Meija Vallejo, Rodrigo Arenas Betancourt, and so many quasi-geniuses we know. Or Sabato or Rulfo, or even Garcia Marquez. That does not matter. Remember Goethe: 'All theory (I would add, and all art), dear friend, is grey, but only the golden tree of life springs ever green.' What we want for you is to 'live'. And living means many better things than being famous, gaining qualifications or winning prizes. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. I think I too had boundless political ambitions when I was young and that's why I wasn't happy. Only now, when all that has passed, have I felt really happy. And part of that happiness is Cecilia, you, and all my children and grandchildren. Only the memory of Marta Cecilia tarnishes it. I believe things are that simple, after having gone round and round in circles, complicating them so much. We should do away with this love for things as ethereal as fame, glory, success... Well, my Quinquin, now you know what I think of you and your future. There's no need for you to worry. You are doing just fine and you'll do better, and when you get to my age or your grandfather's age and you can enjoy the scenery around La Ines that I intend to leave to all of you, with the sunshine, heat and lush greenery, and you'll see I was right. Don't stay there longer than you feel you can. If you want to come back I'll welcome you with open arms. And if you regret it and want to go back again, we can buy you another return flight. A kiss from your father.

In almost all cases, the objective of a trip is paradoxical. You ultimately want to return to the starting point safely. Writing fiction is the same; no matter how far you go, or a how deep a place you go to, in the end when you finish writing, you have to return to the place where you started. That is the final destination. However, the starting point to which you return is never the starting point where you actually started. The scenery is the same, and the faces are the same, and things placed there are the same. However, something fundamental has changed significantly. That's what we discover; it's your discovery. To know that difference is also one of your prime objectives - or at least to acknowledge that difference.

I've been coasting down these open roads alone for so, so long— traveling the roads less traveled on my own, taking in the scenery. But, now I am here to s(t)ay... you can ride in my sidecar, any day.

stats say relationships decline when a baby’s in the picture but the truth is, if the camera doesn’t take good pictures now, the pictures will always be bad quality, no matter the lighting, no matter the scenery don’t take my word for it look at the iphone adverts

It’s a sort of build up. You have to describe —” “You don’t build up this sort of story. You don’t describe the scenery and the characters. This sort of story is an entertainment for people who can’t be bothered with long and detailed explanations. You must plunge straight into the middle of the story on the very first page.” She smiled and added, “Here am I telling you how to write a novel … and I couldn’t write a novel to save my life.” All

Ralph Waldo Emerson could write (in The Conduct of Life, 1860): ‘The influence of fine scenery, the presence of mountains, appeases our irritations and elevates our friendships.’ Mountains

I ended up in the back seat of a chicken truck’s cab heading through beautiful scenery and disastrous roads to my hotel. About an hour later, we stopped to sell a few hundred of the chickens to a butcher shop.

A sensitive and honest-minded man, if he’s concerned about evil and injustice in the world, will naturally begin his campaign against them by eliminating them at their nearest source: his own person. This task will take his entire life. Everything, for us, is in our concept of the world. To modify our concept of the world is to modify the world for us, or simply to modify the world, since it will never be, for us, anything but what it is for us. That inner justice we summon to write a fluent and beautiful page, that true reformation of enlivening our dead sensibility – these things are the truth, our truth, the only truth. Everything else in the world is scenery, picture frames for our feelings, book bindings for our thoughts.

Pulled in different directions, my life is shattered into pieces and bogged down in complicated details that eradicate time. There is no progress. Nothing is being completed. Words are put on hold. I keep telling myself and others, I’m writing, I’m writing. In fact, I am stuck fast in one place. It’s as if I’m watching the scenery behind me grow farther away as I look in a car’s rear-view mirror. New events, news, emotions are like an audio tape on a loop, being overwritten and reloaded. The world is changing too fast. What once blazed so bright has turned cold and cheerless and is now drastically changed. In contrast, writing is so slow. It lags behind, resulting in a colossal time difference.

Above a quite low level, literature is an attempt to influence the viewpoint of one’s contemporaries by recording experience. And so far as freedom of expression is concerned, there is not much difference between a mere journalist and the most ‘unpolitical’ imaginative writer. The journalist is unfree, and is conscious of unfreedom, when he is forced to write lies or suppress what seems to him important news; the imaginative writer is unfree when he has to falsify his subjective feelings, which from his point of view are facts. He may distort and caricature reality in order to make his meaning clearer, but he cannot misrepresent the scenery of his own mind; he cannot say with any conviction that he likes what he dislikes, or believes what he disbelieves. If he is forced to do so, the only result is that his creative faculties will dry up. Nor can he solve the problem by keeping away from controversial topics. There is no such thing as a genuinely non-political literature, and least of all in an age like our own, when fears, hatreds, and loyalties of a directly political kind are near to the surface of everyone’s consciousness. Even a single taboo can have an all-round crippling effect upon the mind, because there is always the danger that any thought which is freely followed up may lead to the forbidden thought. It follows that the atmosphere of totalitarianism is deadly to any kind of prose writer, though a poet, at any rate a lyric poet, might possibly find it breathable. And in any totalitarian society that survives for more than a couple of generations, it is probable that prose literature, of the kind that has existed during the past four hundred years, must actually come to an end.

It's beautiful that our brains have evolved to recognize patterns. It is one of our greatest strengths. It's what allows me to communicate ideas to you with these squiggly little symbols you're looking at right now. It's what allows us to understand concepts like mathematics and physics, its how we manage to engineer buildings that don't collapse and planes that stay in the air. So in a way, there is a "grand novelist." It's us. We are the ones writing this epic saga, pulling out the plot points from the scenery.

Grace was screwed. Royally screwed. As in, her career was over. Finished. Finite. She turned on the windshield wipers and slowed the car as she drove through the rain in the mountains. With a renewed grip on the steering wheel, she sent a quick prayer that the rain would stop. A little sprinkle she could handle. A storm...well, that was another matter entirely. She puffed out her cheeks as she exhaled. If only she was in Scotland for a holiday, but that wasn’t the case at all. In a last-ditch effort to give her muse a good swift kick in the pants, Grace decided to travel to Scotland. All her friends thought she had lost her mind. Her editor thought it was just one more excuse in a very long line of them as to why she hadn’t turned the book in. Grace wished she knew the reason the words just stopped coming. One day they were there, and the next...gone, vanished. Poof! Writing wasn’t just her career. It was her life. Because within the words and pages she was able to write about heroines who had relationships she would never have. It was the sad truth, but it was the truth. Grace accepted her lot...in a way. She might realize the string of miserable dates were complete misses and admit that. However, the stories running through her head allowed her to dream as far as she could, and encounter men and adventures sitting behind a computer never would. Not being able to find the words anymore was like having someone steal her soul. She breathed a sigh of relief when the rain stopped and she was able to turn off her windshield wipers. In the two hours since she checked into the B&B, it hadn’t stopped raining. Rain was a part of being in Scotland, and she was pushing herself with her fear of storms to be out in it as well. It proved how far she would go to find her soul again. She needed to write, to sink into another world where she could find happiness and a love that lasted forever. Now she was armed with her laptop and steely determination. She would find her muse again. Just as soon as she found the right place. The scenery along the highway was stunning, but the noise of the passing vehicles would be too much. Grace needed somewhere off the beaten path. Somewhere she could pretend she was the only person left in the world.

N: I think that I, too, understood that the theater was a place where you can do a whole bunch of different arts. M: I agree. N: You can dance there, you can sing there, you can build scenery there, you can choreograph fights there, but for both of us, apparently, our main thing was, “Let me perform good writing.” That became clear to me. That’s what I wanted to do. When I did Arthur Miller’s The Crucible, I was twenty-five, and that was a very seminal moment. I thought, “If I can just speak writing like this to an audience, that will be a pretty satisfying life.

I consider myself a student of colours and shades and hues and tints. Crimson lake, burnt umber, ultramarine … I was too clumsy as a child to paint with my moistened brush the scenery that I would have liked to bring into being. I preferred to leave untouched in their white metallic surroundings my rows of powdery rectangles of water-colours, to read aloud one after another of the tiny printed names of the coloured rectangles, and to let each colour seem to soak into each word of its name or even into each syllable of each word of each name so that I could afterwards call to mind an exact shade or hue from an image of no more than black letters on a white ground. Deep cadmium, geranium lake, imperial purple, parchment … after the last of our children had found employment and had moved out of our home, my wife and I were able to buy for ourselves things that had previously been beyond our means. I bought my first such luxury, as I called it, in a shop selling artists’ supplies. I bought there a complete set of coloured pencils made by a famous maker of pencils in England: a hundred and twenty pencils, each stamped with gold lettering along its side and having at its end a perfectly tapered wick. The collection of pencils is behind me as I write these words. It rests near the jars of glass marbles and the kaleidoscope mentioned earlier. None of the pencils has ever been used in the way that most pencils are used, but I have sometimes used the many-striped collection in order to confirm my suspicion as a child that each of what I called my long-lost moods might be recollected and, perhaps, preserved if only I could look again at the precise shade or hue that had become connected with the mood – that had absorbed, as it were, or had been permeated with, one or more of the indefinable qualities that constitute what is called a mood or a state of feeling. During the weeks since I first wrote in the earlier pages of this report about the windows in the church of white stone, I have spent every day an increasing amount of time in moving my pencils to and fro among the hollow spaces allotted to them in their container. I seem to recall that I tried sometimes, many years ago, to move my glass marbles from place to place on the carpet near my desk with the vague hope that some or another chance arrangement of them would restore to me some previously irretrievable mood. The marbles, however, were too variously coloured, and each differed too markedly from the other. Their colours seemed to vie, to compete. Or, a single marble might suggest more than I was in search of: a whole afternoon in my childhood or a row of trees in a backyard when I had wanted back only a certain few moments when my face was brushed by a certain few leaves. Among the pencils are many differing only subtly from their neighbours. Six at least I might have called simply red if I had not learned long ago their true names. With these six, and with still others from each side of them, I often arrange one after another of many possible sequences, hoping to see in the conjectured space between some or another unlikely pair a certain tint that I have wanted for long to see.

All thoughts and actions emanate from the body. … Through my small, bonebound island I have learnt all I know, experienced all, and sensed all. All I write is inseparable from the island. As much as possible, therefore, I employ the scenery of the island to describe the scenery of my thoughts, the earthquakes of the body to describe the earthquakes of the heart.