A WRITER'S WIT Thinking it was easy to take a chance on things if you had nothing to lose—politics, ideas, almost anything in fact; from the bottom of the ladder you could safely risk a fall, but the higher that you climbed the more cautious you must be. ​Martin Flavin Born November 2, 1883

M. Flavin

My Book World

1. “The Other Side of the Desk: What I learned about Editing
    When I Became a Literary Agent,” by Susan Rabiner.
 
“It’s the value added by the author to what is essentially a set of facts, stories, and commentary in search of a larger meaning. To conceptualize is to link these facts, stories, and commentary to a compelling point. A successful book proposal offers to take the reader on a journey. It may be one he has taken, in some form, many times before. An author’s concept for the book is her promise [is] that with the benefit of new research, new stories, new insights, and her authorial guiding vision, the reader will see new things on the journey and arrive at a new destination—and even, at the end, be changed by the experience” (77).
 
2. “The Half-Open Door: Independent Publishing and
    Community,” by Jeff Shotts.
            
“There is now, as a result, a vast commercial enterprise around book publishing, where annual profits are valued above cultural currency, books are spoken of in terms of ‘units,’ and readers are sorted by algorithm into categories by which they can be told with increasing accuracy just what it is they want. Commercial values have conflated quantity with quality, and commercial publishers are forced to create the appearance of quality, if there is none, in service of quantity. High advances and movie deals make the news, as do celebrity authors and their book parties and television appearances” (142).
 
3. “Marginalia: On Editing General Nonfiction,” by Matt
​     Weiland.
 
“I also remind the reader that clarity is king. ‘There is nothing that requires more precision, and purity of express, than to write in a familiar style,’ as the great English essayist William Hazlitt put it nearly two hundred years ago. ‘To write as anyone would speak in common conversation who had a thorough command and choice of words, or who could discourse with ease, force,and perspicuity. . .’ To me these are the cardinal virtues of strong, convincing English prose. (Hazlitt’s last term, meaning ‘clarity,’ is now, alas, an antique word)” (173).

A WRITER'S WIT The biggest problem is that Facebook and Google are these giant feedback loops that give people what they want to hear. And when you use them in a world where your biases are being constantly confirmed, you become susceptible to fake news, propaganda, demagoguery. ​Franklin Foer Born July 20, 1974

F. Foer

My Book World

A WRITER'S WIT Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better. Samuel Beckett Born April 13, 1906

S. Beckett

My Book World

(Liveright)

“Jackson’s awareness that her mother had never loved her unconditionally—if at all—would be a source of sadness well into adulthood. Aside from a single angry letter that she did not send, she never gave voice to her feelings of rejection. But she expressed them in other ways. All the heroines of her novels are essentially motherless—if not lacking a mother entirely, then victims of loveless mothering. Many of her books include acts of matricide, either unconscious or deliberate” (25).

A WRITER'S WIT I know that many people kill off their real personality just to fit into this society, but why do we have to compromise? I never understood that. I decided to try to be myself and to live by my own values rather than those of others. ​Novala Takemoto Born January 26, 1968

N. Takemoto

My Book World

“Perhaps the physical and the metaphorical meanings are clumsy ways of understanding what happens when two beings need, not just to be close together, but to become so totally ductile that each becomes the other. To be who I am because of you. To be who he was because of me. To be in his mouth while he was in mine and no longer know whose it was, his cock or mine, that was in my mouth” (142-3).

“If you remember everything, I wanted to say, and if you are really like me, then before you leave tomorrow, or when you’re just ready to shut the door of the taxi and have already said goodbye to everyone else and there’s not a thing left to say in this life, then, just this once, turn to me, even in jest, or as an afterthought, which would have meant everything to me when we were together, and, as you did back then, look me in the face, hold my gaze, and call me by your name” (248).

A WRITER'S WIT I find the public passion for justice quite boring and artificial. ​Patricia Highsmith #bornonthisday January 19, 1921

P. Highsmith

My Book World

“Sworn to secrecy, the women were forbidden from telling anybody what they were doing: not their friends, not their parents, not their family, not their roommates. They were not to let news of their training leak into campus newspapers or disclose it in a letter, not even to their enlisted brother or boyfriend. If pressed, they could say they were studying communications: the routing of ordinary naval messages” (5)

A WRITER'S WIT We need sex education in schools, but we need it at home first. We need parents to learn the names of the teachers who are teaching their children. We need families to question day-care centers, to question other children and their own as to what goes on. ​Rod McKuen Born April 29, 1938

R. McKuen

My Book World

​Each weekend I try to view selected portions of C-SPAN’s Book-TV, forty-eight straight hours of recorded author readings of nonfiction now hitting the shelves, and sometimes six- or eight-hour segments covering book festivals around the US. C-SPAN, by the way, is supported by most cable and satellite TV providers, so check your listings. You can also view at any time any reading at Book-TV’s Web site. And if you do wish to tune in, you can view, download, and print a copy of the weekend’s schedule off the Web site. Please find below a presentation that recently affected me very deeply.

A WRITER'S WIT I have a very strong feeling that the opposite of love is not hate—it's apathy. It's not giving a damn. ​Leo Buscaglia ​Born March 31, 1924

Buscaglia

My Book World

“In the end the Party would announce that two and two made five, and you would have to believe it. It was inevitable that they should make that claim sooner or later: the logic of their position demanded it. Not merely the validity of experience, but the very existence of external reality was tacitly denied by their philosophy” (80).

“the power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them”? (214).
 
“It need hardly be said that the subtlest practitioners of doublethink are those who invented doublethink and know that it is a vast system of mental cheating. In our society, those who have the best knowledge of what is happening are also those who are furthest from seeing the world as it is” (215).

A WRITER'S WIT There seems to me a thousand occasions when my soul knows more than it can tell, and a has a spirit of its own which is far superior to my everyday one. It seems to me too, that men are far superior to all the books they write. ​Pierre Marivaux ​Born February 4, 1688

My Book World

“If only men might devise some way of preserving sound, so their voices might be kept with photographs and engravings, not just sent out from the body to die upon the air” (261).

A WRITER'S WIT Compassion is not a popular virtue. Very often when I talk to religious people, and mention how important it is that compassion is the key, that it's the sine-qua-non of religion, people look kind of balked, and stubborn sometimes, as much to say, what's the point of having religion if you can't disapprove of other people? ​Karen Armstrong ​Born November 14, 1944

New Yorker Fiction 2016

Larry Towell / Magnum

“A window was the border through which death was possibly likeliest to come. Windows could not stop even the most flagging round of ammunition: any spot indoors with a view of the outside was a spot potentially in the crossfire” (71).

“Nadia, who had not considered the order of their departure until that moment, and realized that there were risks to each, to going first and to going second, did not argue but approached the door, and drawing close she was struck by its darkness, its opacity, the way that it did not reveal what was on the other side and also did not reflect what was on this side, and so felt equally like a beginning and an end, and she turned to Saeed and found him staring at her, and his face was full of worry and sorrow, and she took his hands in hers and held them tight, and then, releasing them, and without a word, she stepped through” (76-7).

A WRITER'S WIT It's expected of novels that they should explain the world and create the illusion that things are ultimately logical and coherent. But that's not what I see around me. Often, events remain mysterious and unresolved, and our emotions reach no catharsis. ​Damon Galgut ​Born November 12, 1963

My Book World

I'VE MADE IT MY GOAL to read the entire oeuvre of late British-American author, Christopher Isherwood, over a twelve-month period. This profile constitutes the twenty-second in a series of twenty-four.

A WRITER'S WIT I suppose there must be idiots who dream of signing deals with publishers while fully intending to drink martinis in cool bars or ride around on skateboards. But the actual writers I know are experts in neurotic self-torture. Every page of writing is the result of a thousand tiny decisions and desperate acts of will.  Helen Garner ​Born November 7, 1942

New Yorker Fiction 2016

Kristian Hammerstad

A WRITER'S WIT I'd go to the library so I could sit in a big, quiet room and listen to pages being turned. There was a boring librarian who everyone in fifth grade hated. But I loved her because when she would read us stories in her soft voice, she'd turn my head into a snow globe. ​Andrea Seigel Born October 28, 1979

 My Book World

I'VE MADE IT MY GOAL to read the entire oeuvre of late British-American author, Christopher Isherwood, over a twelve-month period. This profile constitutes the twenty-first in a series of twenty-four.

Editor Katherine Bucknell, from her Introduction: “Isherwood never gave up his writing as [Edward] Upward did; for he was a writer above all, not an activist, even when it came to his homosexual kind. By writing in explicit sexual detail about his intimate behavior and that of his close friends and acquaintances in the years immediately following the war, he was portraying the hidden energies and affinities of homosexual men all over the United States who during that period were gathering increasingly in certain, mostly coastal cities as peace and prosperity returned to a country much altered by vast wartime mobilization. This hidden social group, whose consciousness of itself as a group was intensified by the demographic shifts brought about by the war and then extended throughout the 1950s, was to emerge in its own right as a significant force of change in American and in western culture generally during the final third of the twentieth century. Much of this change began in southern California, and Isherwood was living at its source. His personal myth is part of, and in many ways emblematic of, the larger myth of the group to which he belonged: and his reconstruction of his life during the postwar years foretells much of what was to come” (xiv).
 
Writing about himself in the third person, CI says, helps him to separate himself from the “I” of the rest of his writing: “Isherwood would never cease to be aware of the way in which all success, and indeed all art, excludes or marginalizes somebody. In a sense, his art tries to do the opposite, but whatever is brought to the fore must push something else aside. As a schoolboy he had written to his mother: ‘I have an essay on “omission is the Beginning of all Art” which it may amuse you to see.’ And he explains at some length in Christopher and His Kind, much of the difficulty he had with his work, throughout his career, can be understood as his struggle with the question of how the artist decides what to leave out of his art. The subjects not chose, the themes not addressed, haunt the imagination with the pain of their rejection; for the novelist who feels a strong loyalty to historical fact, the necessity to omit is like the burden of original sin, a crime of neglect which must precede the possibility of artistic creation” (xxxiii).
 
Isherwood reveals a romantic notion has: “The rest of the day was spent at Bill’s La Cienega apartment. It seems to me now that La Cienega was perhaps the most romantic street in Los Angeles, in those days. It had an un-American air of reticence, of unwillingness to display itself. Its shops were small and unshowy; its private houses were private. Also—and this was what really appealed to Christopher—it seemed to have a bohemian, self-contained life of its own. It was a ‘quarter,’ which didn’t make any effort to welcome outside visitors. Many of its dwellers were hidden away in odd little garden houses and shacks, within courtyards or on alleys, behind the row of buildings which lined the street. It was in one of these that Bill lived” (15).
 
A bit of literary gossip: “Katherine Anne [Porter] treated them like favored nephews; she even cooked meals for them. Unfortunately, however, beneath Christopher’s deference and flattery, there was a steadily growing aggression. By her implicit claim to be the equal of Katherine Mansfield and even Virginia Woolf, Katherine Anne had stirred up Christopher’s basic literary snobbery. How dare she, he began to mutter to himself, this vain old frump, this dressed-up cook in her arty finery, how dare she presume like this! And he imagined a grotesque scene in which he had to introduce her and somehow explain her to Virginia, Morgan [Forster] and the others . . . [t]hus Katherine Anne became the first of an oddly assorted collection of people who, for various reasons, made up their minds that they would never see Christopher again. The others: Charlie Chaplin, Benjamin Britten, Cole Porter, Lincoln Kirstein” (68-9).
 
CI became acquainted with the famed Joseph Pilates, designer of physical education for compromised bodies, when CI joined the man’s gym: “Mr. Pilates was a bully and a narcissist and a dirty old man; he and Christopher got along very well. When Christopher was doing his workout, Pilates would bring one of his assistants over to watch, rather as the house surgeon brings an intern to study a patient with a rare deformity. ‘Look at him!’ Pilates would exclaim to the assistant, ‘That could have been a beautiful body, and look what he’s done to it! Like a birdcage that somebody trod on!’ Pilates had grown tubby with age, but he would never admit it; he still thought himself a magnificent figure of a man. ‘That’s not fat,’ he declared, punching himself in the stomach, ‘that’s good healthy meat!’ He frankly lusted after some of his girl students. He used to make them lie back on an inclined board and climb on top of them, on the pretext that he was showing them an exercise. What he really was doing was rubbing off against them through his clothes; as was obvious from the violent jerking of his buttocks” (120). Lust may be in the eye of the beholder!
 
CI on screenwriting, something he did to pay the bills: “Christopher had always been a model employee. He despised amateurs like Brecht who, when they condescended to work at a film studio, whined and sneered and called themselves whores or slaves. Christopher prided himself on his adaptability. Writing a movie was a game, and each game had a different set of rules. Having learned the rules, Christopher could play along with enjoyment—especially if he had a fellow player like Gottfried Reinhardt who was enjoying himself too. Once Christopher had accepted the fact that this game was to be played according to the Viennese code, he became almost as Viennese as Gottfried and Fodor. I have no doubt that some of the script’s most Viennese touches were contributed by him, though I can’t remember which they were” (152).
 
CI quotes author Cyril Connolly: “. . . the true function of a writer is to produce a masterpiece . . . no other task is of any consequence. Obvious though this should be, how few writers will admit it, or having made the admission, will be prepared to lay aside the piece of iridescent mediocrity on which they have embarked! Writers always hope that their next book is going to be their best, for they will not acknowledge that it is their present way of life which prevents them from ever creating anything different or better” (275).

A WRITER'S WIT Whoever fights monsters should see to it that in the process he does not become a monster. And when you look long into an abyss, the abyss also looks into you. ​Friedrich Nietzsche ​Born October 15, 1844

My Book World

“My casual intention, in thinking about these journeys, was to have a look at the literature that had come out of the states I passed through. For Minnesota there is not a whole lot. Scott Fitzgerald, though a native son, spent most of his life east of Princeton or west of Pasadena. His work seems to me to owe little or nothing to the [M]idwest. Louise Erdrich lives in Minneapolis now, but most of her work is set well to the west, near the Turtle Mountain Reservation in North Dakota” (30).
 
“Most Mexicans still feel that they have an innate right to be on the north side of the [Rio Grande] river, where their grandparents or great-grandparents lived. The Border Patrol can deport them, but it can’t extinguish this feeling” (54). If only Texans especially would understand this idea.
 
“Despite the Army Corps of Engineers’ elaborate strategies for controlling the lower Mississippi, most people who know and love the river know that it is more powerful than many plans human beings may design: one day it may rise up in flood and take out much of southern Louisiana, blowing through human constraints as easily as Moby Dick blew through the whaling boat” (68) LM wrote this in 2000. Not too prescient, eh?
 
“Once, when I was about ten, we were approaching the ranch after veering north to look at some pasturage when we saw a small barefoot boy racing along the hot road with terror in his face. My father just managed to stop him. Though incoherent with fear, the boy managed to inform us that his little brother had just drowned in the horse trough. My father grabbed the boy and we went racing up to the farmhouse, where the anguished mother, the drowned child in her arms, was sobbing, crying out in German, and rocking in a rocking chair. Fortunately the boy was not quite dead. My father managed to get him away from his mother long enough to stretch him out on the porch and squeeze the water out of him. In a while the boy began to belch dirty fluids and then to breathe again. The crisis past, we went on home. The graceful German mother brought my father jars of her best sauerkraut for many, many years” (185). This anecdote speaks for itself.
 
Occasionally McMurtry allows his prejudices to overpower his reason: “I’m not entirely comfortable in Idaho—fortunately it’s only seventy-five miles across the Idaho panhandle from Coeur d’Alene over the hills to Montana. I suppose my discomfort has to do with the Aryan Brotherhood and similar organizations, several of which make their official home in Idaho. In no state is there such obvious hatred of law and government—hard to explain, since there is scant evidence that there is much law and government in Idaho. A lot of frontier types who aren’t quite up to Alaska hang out there, secure in the knowledge that they’re in part of the country where the outlaw mentality is still encouraged” (195).

A WRITER'S WIT For research, I like to go to the location of the places in the novels. The first thing that I do is involve my senses: I notice the smells; I open the trash cans and look at what people have thrown away. ​Natsuo Kirino Born October 7, 1951

My Book World

I'VE MADE IT MY GOAL to read the entire oeuvre of late British-American author, Christopher Isherwood, over a twelve-month period. This profile constitutes the twentieth in a series of twenty-four.

The following comes under the category of gossip, interesting only because of its noted victims: “The usual pronouncement that Truman Capote is a ‘birdbrain.’ Gore [Vidal] has finished a novel called Two Sisters in which he admits that he and Jack Kerouac went to bed together—or was that in an article? (Gore told me about so many articles he’s written and talks he has given that my memory spins.) Anyhow, Gore now regrets that he didn’t describe the act itself; how they got very drunk and Kerouac said, ‘Why don’t we take a shower?’ and then tried to go down on him but did it very badly, and then they belly rubbed. Next day, Kerouac claimed he remembered nothing; but later, in a bar, yelled out, ‘I’ve blown Gore Vidal!’” (11).
 
“Howard is an American, Jewish New Yorker, with possibly some Negro in him” (63). Speaks for itself.
 
On writing: “I have kept this diary doggedly, day by day, because I believe a continuous record, no matter how full of trivialities, will always gradually reveal something of the subconscious mind behind it. I’ve never regretted keeping a diary yet. There are always a few nuggets of literary value under all that sand” (65).
 
On aging: “Partly, of course, this rattles me because I’m getting old; I feel I can’t keep up with it all. Why do things have to change so fast? It no longer seems exhilarating that they do. For instance, I mind enormously that they finally are going to put up this monster apartment building at the end of the street, two twenty-floor towers. And yet, why not? Why shouldn’t we have to move? We’ve been here ten years, already” (81).
 
On Cabaret: “Scammell told us he has read the script of the Cabaret film (because for part of Chris) and ‘Chris’ (now called Brian) is queer, that’s to say he can’t make love to Sally at first and then later he can then Sally does it with a mature but very attractive baron and Chris is jealous and makes a scene about it with Sally, and Sally exclaims, ‘Oh, fuck the Baron!” (meaning that he’s unimportant) and Chris replies coyly, ‘I do.’ That’s the kind of thing which offends my dignity as a homosexual. The queer is just an impotent heterosexual” (127).
 
Aging: “Oh, I am such a compulsive old thing, jogging down the road to the beach, sitting for a moment only on the sand alert for dogs (lest they should pee on my towel), then into the ocean, alert for surfers (lest they should collide with me) then to take a shower on the beach (hurrying lest someone else should get there first) then hobbling uphill over the gravel and wiping off the sand from my feet on the lawn of the corner house (hastily, lest they should look out and tell me not to). My secret life isn’t a bit like Walter Mitty’s—it’s mostly ratlike scurrying to secure myself some tiny advantage” (182).
 
Anecdote: “John Gielgud told us this story about Mae West. She was asked, ‘Do you ever smoke after you’ve had sex?’ She answered, ‘I never looked.’” (235).
 
On keeping a journal: “Have been dipping into my old journals of the early sixties; a mistake. Now I feel sad as shit, but must admit things are much better nowadays, at least from my point of view. Is it really good to keep a journal? I loathe doing it at the time and I get depressed when I read it. But it’s such a marvellous treasure trove. I have vowed to make an entry a day throughout July, so I’ll stick to this, but I protest, I protest” (249).
 
Gossip: “Roddy [McDowall, actor] has a weird hobby, he makes candles. He brought us one, or rather a sort of wax embryo containing three wicks and many lumps of colored wax embedded in wax. Without my glasses, I took it for some sort of fruit dessert and was about to put it in the icebox” (263).
 
On Cabaret: “Yesterday, I saw Cabaret for the second time and liked it much better than before. I still don’t think it adds up to anything much, but Michael York this time seemed not only adorable and beautiful but a really sensitive and subtle actor. Liza Minnelli I liked less, however; thought her clumsy and utterly wrong for the part, though touching sometimes, in a boyish good-sport way” (289).
 
Anecdote: “The evening ended delightfully with a sort of victory party given by J. J. Mitchell’s handsome and nice friend Ron Holland, at a restaurant called Ma Bell’s, where they have telephones on all the tables which you can use for free, anywhere in the New York area. Ron told a story about a boy he picked up at a gym he goes to. He brought the boy to this restaurant and told him he could call anybody he liked. The boy was delighted. He called his mother and started telling her what a wonderful place he was in. Then his face fell. He turned to Ron and said apologetically ‘I’ve go to split—she says my father’s dying’” (307-8).
 
Prejudice: “My relations with Patrick weren’t as pleasant as usual, I’m sorry to say. Maybe all his talk about settling down in France irritated me, after a few drinks, for I launched into one of my tiresome cantankerous Francophobe tirades. Also I declared that, as a writer, I needed all my life to master the English language—implying that Patrick and the rest never had and never would—and that I therefore had no time to waste in dabbling in foreign tongues. Patrick rightly found this statement pretentious. It was also rude to Eric, who speaks at least three languages fluently” (335). I don’t get why Isherwood is being so “honest” here. Is it for his or our benefit?
 
“This afternoon Julian Jebb is due to arrive here with his assistant, Rosemary Bowen Jones, and we are to be in the grip of the BBC for a week. Am at present sulking about this, wishing to Christ I’d never agreed to it, even wishing I’d agreed to go to Berlin because maybe once I was there I’d have remembered something interesting. Now it seems to me that Berlin was one of the least important episodes in my life, which is nonsense of course—but it does bring home to me that my life in those days was a pretty shabby little affair in comparison with what I have had since” (409). Ironic, isn’t it, that Isherwood’s Berlin life is “shabby,” but his writing notable, but later an LA life is great, but his writing not as lively.
 
Isherwood pinpoints the problem of an older writer finding fresh content. It hits him hard, I think. “I keep plugging at the book. At present, not joyfully. I feel it is somehow flat—that I’m failing to give it the sparkle of life. One thing that keeps bugging me is that I have covered so much of the material in my fiction and what’s left for me to write is just—leftovers” (471).
 
“No use apologizing to myself for the huge gap [between entries]. The truth is I am slowing down; I simply cannot get through all the jobs I set myself to do. And so I develop a masochistic attitude toward myself as my own taskmaster” (473). Yeah, it sort of works when you’re in your thirties, but not so much later on.
 
“On March 17, Mort Sahl, on his T.V. show called ‘Both Sides,’ made antihomosexual remarks, against which Cici Huston, who was one of his guests, violently protested. Here are four of Sahl’s remarks (addressed to Cici and some other women): ‘They despise you because you have the real thing,’ ‘They dominate classical music,’ ‘Do you know a poor faggot?’ ‘They’re your enemy.’” Odd that Isherwood sees this as prejudice but NOT his own anti-Semitism or racist comments.
 
“Instead he went to bed and left Jack to cope with us, Zizi Jeanmaire, her daughter Valentine, Ustinov’s daughter Pavla, Nellie Carroll and Miguel. He failed to make us jell and nobody raised a finger to help him except Don and me. I can’t help it, I do so dislike Frogs” (534). This remark is typical of the British hatred for the French, or perhaps it is a typical “islander’s” small prejudices against everybody!
 
On aging: “A really interesting and horribly depressing talk, last night on T.V., about the approaching oil famine within thirty years and consequent plans for transmitting solar energy via satellites, etc. I got such a sense of a future which I don’t want to, and anyway, can’t live on into. At the same time, I quite realize that my aversion is merely romantic; I hate to part with the notion of space as something awesome, of the moon as a shining mysterious orb, etc., and contemplate a time when the earth will be surrounded by a sort of backyard full of skyjunk” (541).
 
On writing: “Today I reached page 203, which is almost certainly much more than two-thirds of this draft. I still haven’t the least idea what is caught in the net. It is still entirely possible that the question, ‘Why are you telling me all this?’ won’t be adequately answered. But, in all my long experience, I have never been able to find anything better than this fumbling way of getting down to the nerve” (545).
 
On writing: “The writer of any kind of autobiographical book is in deadly danger whenever he is trying to get from point A to point B in a hurry—when, that’s to say, he isn’t interested in what he’s immediately writing. Somehow or other, one must make such bridge passages interesting. There are many of them in my narrative, and that is really what’s worrying me” (582).
 
Speaking very poetically of his local geography, yet it seems to be a metaphor for his writing, his life: “I think the sun has now definitely set beyond the headland, into the sea, but can’t be certain because of how-lying clouds, I creep on with the Swami book [My Guru and His Disciple]. My old head is so thick and stupid it’s brutal. I fight my way on, sentence by sentence, and always a cold scornful remnant of reason waits for the next morning, when it looks through the latest page and says, idiot, can’t you see that the sentence ought to be the other way around, and that that adjective is utterly wrong? Are you really so senile? And it’s right—I do see it” (588).
 
Anecdote: “On New Year’s Eve, Don painted Rick Sandford because it was his birthday. Rick asked me, ‘How long was it after you met Don that you and he had sex?’ I said: ‘We had sex and then we met.’” (681)

A WRITER'S WIT
Truth, at the wrong time, can be dangerous.
Michael Ondaatje
Born September 12, 1943

A Long Way to Ireland

Michael Marcelle

THE WRITER'S WIT
The novelist hasn't any right to inflict on the public his private ideas on politics, race, or religion.
Frank Yerby
Born September 5, 1916

All in the Details

Jenny Hueston

A WRITER'S WIT
Lend me your vast noise, your vast gentle speed, your nightly slipping through a lighted Europe, O luxury train! And the agonizing music that sounds the length of your gilt corridors, while behind the japanned doors with heavy copper latches sleep the millionaires . . .
Valery Larbaud
Born August 29, 1881

Poor References

A WRITER'S WIT
What divides men is less a difference in ideas than a likeness in pretensions.
Pierre Jean de Béranger
Born August 19, 1780

My Book World

“His job gave him a particular kind of identity, and made him what he was . . . It’s the love of the thing that’s essential. And if you love something, you’re going to understand it. you’ve got to keep the faith.”

“He wondered again at the easy, graceful manner in which the roman lyricists accepted the fact of death, as if the nothingness they faced were a tribute to the richness of the years they had enjoyed; and he marveled at the bitterness, the terror, the barely concealed hatred he found in some of the later Christian poets of the Latin tradition when they looked to the death which promised, however vaguely, a rich and ecstatic eternity of life, as if that death and promise were a mockery that soured the days of their living” (41).

Black Witch Moth

A WRITER'S WIT
Too much rest is rust.
Sir Walter Scott
Born August 15, 1771

My Book World

The Tattered Cover of My Copy

“Zhivago had told him how hard he found it to accept the ruthless logic of mutual extermination, to get used to the sight of the wounded, especially to the horror of certain wounds of a new sort, to the mutilation of survivors whom the technique of modern fighting had turned into lumps of disfigured flesh” (99).

“On one stretcher lay a man who had been mutilated in a particularly monstrous way. A large splinter from the shell that had mangled his face, turning his tongue and lips into a red gruel without killing him, had lodged in the bone structure of his jaw, where the cheek had been torn out. He uttered short groans in a thin inhuman voice; no one could take these sounds for anything but an appeal to finish him off quickly, to put an end to his inconceivable torment” (101).

A WRITER'S WIT
A well-informed mind . . . is the best security against the contagion of folly and of vice.
Ann Radcliffe
Born July 9, 1764

Weatherall Meets Columbus?

A WRITER'S WIT
It is no simple matter to pause in the midst of one's maturity, when life is full of function, to examine what are the principles which control that functioning.
Pearl Buck
Born June 26, 1892

My Book World

“I was now on the sexual map and proud of my place on it. I did not care for the word ‘homosexual’ or any label, but I stood among the men, not among the women. Girls I despised; vain, silly creatures, how could their smooth soft, bulbous bodies compare in attraction with the muscular beauty of men? Their place was the harem, from which they should never have been released; true love, equal and understanding love, occurred only between men. I saw myself therefore in the tradition of the Classic Greeks, surrounded and supported by all the famous homosexuals of history—one soon sorted them out—and in time I became something of a publicist for the rights of that love that dare not speak its name” (154-5).

A WRITER'S WIT
What a difficult thing it is to ask someone's advice on a matter without coloring his judgment by the way in which we present our problem.
Blaise Pascal
Born June 19, 1623

Rising Once Again

Adam Stennett

A WRITER'S WIT
Pity makes the world soft to the weak and noble for the strong.
Edwin Arnold
Born June 10, 1832

. . . of a Man Named Brady

Michael Marcelle