Quotes & Sayings About Language And Writing

There is really only one way to learn good writing: good reading and extensive writing and revising. — Robert Lane Greene

I was always shy. Writing was my only outlet. Because I always hid in a room, I spent a lot of time watching people. When I was a small child I could detect hidden body language in others only I could see. People's emotions rub off on me. When I told this to my therapist she said, "Well, you're an empath." I thought, "No way. Like Star Trek?" And she clarified: because I am so socially uncomfortable, I have compassion for others who I recognize are also struggling. People with anxiety are acutely aware. — Jenny Lawson

I often reread passages of "Lolita" for its exquisite language. To me, "Lolita" has no message, no purpose, other than to exist as a marvel of literary creation. It has wit, intelligence and style. It pointedly makes no attempt to serve a higher moral purpose, and previous attempts by critics to find one have proven ludicrous. The annotated edition is accompanied by a brilliant afterword by Nabokov that is a lucid reminder of the pure joy of writing, its interplay with life. — Amy Tan

Beware of the compound adjective, beloved of the tyro and the 'poetess'. — Ambrose Bierce

The phrase comes to him before the emotion; but we must add that he is nevertheless a born writer, a man who detests meals, servants, ease, respectability or anything that gets between him and his art; who has kept his freedom when most of his contemporaries have long ago lost theirs; who is ashamed of nothing but being ashamed; who says whatever he has it in his mind to say, and has taught himself an accent, a cadence, indeed a language, for saying it in which, though they are not English, but Irish, will give him his place among the lesser immortals of our tongue. — Virginia Woolf

The charm of your writing," Evelyn Waugh once wrote to Mitford, "depends on your refusal to recognize a distinction between girlish chatter and literary language. — Nancy Mitford

Language spread its warm, absurd rays over all my adolescent thoughts, and I felt the way we all long to feel: moody, lonely, lovesick and explosive with the prospects of tomorrow. — Spencer Gordon

Evan Connell said once that he knew he was finished with a short story when he found himself going through it and taking out commas and then going through the story again and putting the commas back in the same places. I like that way of working on something. I respect that kind of care for what is being done. That's all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places so that they an best say what they are meant to say. If the words are heavy with the writer's own unbridled emotions, or if they are imprecise and inaccurate for some other reason
if the worlds are in any way blurred
the reader's eyes will slide right over them and nothing will be achieved. Henry James called this sort of hapless writing 'weak specification'. — Raymond Carver

Modern Arabic literature achieved international recognition when Mahfouz was awarded the Nobel prize in 1988 ( ... ) Mahfouz also rendered Arabic literature a great service by developing, over the years, a form of language in which many of the archaisms and cliches that had become fashionable were discarded, a language that could serve as an adequate instrument for the writing of fiction in these times. — Denys Johnson-Davies

Far from being writers - founders of their own place, heirs of the peasants of earlier ages now working on the soil of language, diggers of wells and builders of houses - readers are travellers; they move across lands belonging to someone else, like nomads poaching their way across fields they did not write, despoiling the wealth of Egypt to enjoy it themselves. — Michel De Certeau

I don't change the language for children books. I don't make the language simpler. I use words that they might have to look up in the dictionary. The books are shorter, but there's just not that much difference other than that to be honest. And the funny thing is, I have adult writer friends [to whom I would say], "Would you think of writing a children's book?" and they go, "No, God, I wouldn't know how." They're quite intimidated by the concept of it. And when I say to children's books writers, would they write an adult book, they say no because they think they're too good for it. — John Boyne

If you're running a 26-mile marathon, remember that every mile is run one step at a time. If you are writing a book, do it one page at a time. If you're trying to master a new language, try it one word at a time. There are 365 days in the average year. Divide any project by 365 and you'll find that no job is all that intimidating. — Charles R. Swindoll

I was impressed with Jack [Kerouac]'s commitment to serious writing at the expense of everything else in his life. At a time when the middle class was burgeoning with new homes, two-tone American cars, and black-and-white TVs, when American happiness was defined by upwardly mobile consumerism, Kerouac etched a different existence and he wrote in an original language. — Sterling Lord

Hammett wrote at first (and almost to the end) for people with a sharp, aggressive attitude to life. They were not afraid of the seamy side of things; they lived there. Violence did not dismay them; it was right down their street. Hammett gave murder back to the kind of people that commit it for reasons, not just to provide a corpse; and with the means at hand, not hand-wrought dueling pistols, curare and tropical fish. He put these people down on paper as they were, and he made them talk and think in the language they customarily used for these purposes — Raymond Chandler

The nature of poems
Is a matter of words and deeds
An intimate encounter of voice
In the ache of the heart
In the labor of breathing
A hesitant casting of eyes
Away from the mundane to see
That delicate and shiny thing
In the oddly prosaic rock pile
An extravagance of conceit
An abundance of grace
A prayer for words to speak — Kendall Dana Lockerman

It pleases him how Spell is how the word is made but also, in the hands of the magician, how the world is changed. One letter separates Word from World, and that letter is like the number one, or an 'I', or a shaft of light between almost closed curtains. There is an old letter called a thorn, which jags and tears at the throat as it's uttered. Later he learns that Grammar and Glamour share the same deeper root, which is further magic, and there can be neither magic without that root, nor plant. He's lost in it like Chid in Child, or God reversed into Dog. Somewhere inside him is a colon. A sentence can last for life. — Charles Lambert

Nobody cares about feminist academic writing. That's careerism. These poor women in academia have to talk this silly language that nobody can understand in order to be accepted ... But I recognize the fact that we have this ridiculous system of tenure, that the whole thrust of academia is one that values education, in my opinion, in inverse ratio to its usefulness - and what you write in inverse relationship to its understandability. [ ... ] Academics are forced to write in language no one can understand so that they get tenure. They have to say 'discourse', not 'talk'. Knowledge that is not accessible is not helpful. — Gloria Steinem

J. R. R. Tolkien, undisputedly a most fluent speaker of this language, was criticized in his day for indulging his juvenile whim of writing fantasy, which was then considered - as it still is in many quarters - an inferior form of literature and disdained as mere "escapism." "Of course it is escapist," he cried. "That is its glory! When a soldier is a prisoner of war it is his duty to escape - and take as many with him as he can." He went on to explain, "The moneylenders, the knownothings, the authoritarians have us all in prison; if we value the freedom of the mind and soul, if we're partisans of liberty, then it's our plain duty to escape, and to take as many people with us as possible. — Stephen R. Lawhead

Poetry was syllable and rhythm. Poetry was the measurement of breath. Poetry was time make audible. Poetry evoked the present moment; poetry was the antidote to history. Poetry was language free from habit. — Damon Galgut

She decided to free herself, dance into the wind, create a new language. And birds fluttered around her, writing "yes" in the sky. — Monique Duval

This book reminds me of James Gleick's Chaos. The ideas and stories in Loving and Hating Mathematics are timely, interesting, and sometimes even profound. The authors, writing for nonspecialists, take pains to explain technical ideas in nontechnical language, and the book should interest general readers as well as a large mathematical audience. — Steven G. Krantz

But once an original book has been written-and no more than one or two appear in a century-men of letters imitate it, in other words, they copy it so that hundreds of thousands of books are published on exactly the same theme, with slightly different titles and modified phraseology. This should be able to be achieved by apes, who are essentially imitators, provided, of course, that they are able to make use of language. — Pierre Boulle

In the rare moments I permitted any stillness, I noted a small fluttering at the pit of my belly, a barely perceptible disturbance. The faint whisper of a word would sound in my head: writing. At first I could not say whether it was heartburn or inspiration. The more I listened, the louder the message became: I needed to write, to express myself through written language not only so that others might hear me but so that I could hear myself. The gods, we are taught, created humankind in their own image. Everyone has an urge to create. Its expression may flow through many channels: through writing, art, or music or through the inventiveness of work or in any number of ways unique to all of us, whether it be cooking, gardening, or the art of social discourse. The point is to honor the urge. To do so is healing for ourselves and for others; not to do so deadens our bodies and our spirits. When I did not write, I suffocated in silence. — Gabor Mate

The traditional statement about language is that it is in itself living, and that writing is the dead part of language. — Jacques Derrida

As actors, we were fighting that tooth and nail because of fear, because language is a crutch and dialogue is a crutch, and it's so easy to just have a great writer write you a line. — Charlize Theron

With Head Off & Split, Nikky Finney establishes herself as one of the most eloquent, urgent, fearless and necessary poets writing in America today. What makes this book as important as anything published in the last decade is the irresistible music, the formal dexterity and the imaginative leaps she makes with metaphor and language in these simply stunning poems. This is a very, very important achievement. — Kwame Dawes

We took a sledgehammer to the rules of English and reassembled the pieces into a language only we understood. — Anthony Marra

God produced great writing, a matter of first importance to a man like Lincoln, ever impressed with the nature of cause and forces. — Richard Brookhiser

Language is a door. Words en-trance and are an entrance; they draw you in. When you read, the book you cradle disappears and the tales within unfold in your mind. Writing is a shelter of words and reading an interior adventure. — Laurie Seidler

Many young people today do not concern themselves with style. They think that what one says should be said simply and that is all. For me, style - which does not exclude simplicity, quite the opposite - is above all a way of saying three or four things in one. There is the simple sentence, with its immediate meaning, and then at the same time, below this immediate meaning, other meanings are organized. If one is not capable of giving language this plurality of meaning, then it is not worth the trouble to write. — Jean-Paul Sartre

I had severed relations with the Romanian exiles who had become politically conservative and even extremely right wing; I was giving chess lessons to earn a living. Luckily we spoke quite a bit of French at home so it wasn't too difficult for me to write in my adopted language. — Dumitru Tepeneag

The calls of birds and the traces left by wolves to mark off their territories are no less forms of language than the sings of humans. What is distinctively human is not the capacity for language. It is the crystallisation of language in writing. — John N. Gray

We write our life stories detailing our worldly experiences in order to expose the unconscious mind to the world of conscious appreciation. By extending our consciousness, we bring material insights to our emotional forefront. Words lay the foundation for truth telling. The music of our words allows us to train the lightness of language upon the darkness of our own humanity. The taxonomy of the human mind empowers us to employ the magic of language to share information, suggest action, speculate upon the future, reminisce about pastimes, lance our most ragged feelings, and pontificate, with a drunkard's sense of punchy assuredness, upon any topic that fits our fancy. We tell stories in order to mark our existence, to share both our triumphs and failures, and teach wisdom gained from our previous skirmishes in a convoluted world. In absence of our stories, we do not exist in our own minds or in the minds of our people. — Kilroy J. Oldster

Language and written language are the only real way we have to see inside another person's thoughts and to know what makes another person human. Without writing, we just wouldn't have that kind of access. — Carol Windley

Good writing arises out of obsession. With obsession there is emotional depth and a certain weight and gravity to the language and story. Without obsession I would be empty, and, literally, I wonder if I would even have any substance. The body is like a cathedral, and the cathedral needs music and prayer filling its grand spaces. Obsession turning over and over within the body creates music, prayer, substance that, although providing the depth, weight, and gravity I first evoked, also allows for lyricism, lightness, and flight up into the various arches and ellipses of the cathedral. Obsession is filled with slowness - and so obsession in my writing, for good or bad, doesn't come about because of an immediate intellectual idea or problem, nor a quick flash of inspiration. There's this slow energy at work, and I begin to become a part of that when I'm very close to silence. — Fred Arroyo

If for instance the sentiment possessing for the moment the empire of our mind is sorrow, will not the genius sharpen the sorrow and the sorrow purify the genius? Together, will they not be like a cut diamond for which language is only the wax on which they stamp their imprint? I believe that genius, thus awakened, has no need to seek out details, that it scarcely pauses to reflect, that it never thinks of unity: I believe that the details come naturally without search by the poet, that inspiration takes the place of reflection and as for unity, I think there is no unity so perfect as that which results from a heart filled with a single idea ... The nature of genius is related to that of instinct; it's operation is both simple and marvelous. — Charlotte Bronte

I'm not a wildly gifted person; I don't play an instrument or speak another language or have great accomplishments in another field, as many writers do. But writing feels natural to me; the act of it seems to free up my unconscious, so that sometimes I feel that I have access to more ideas and information than my conscious mind could think up. — Jennifer Egan

There is all this stuff about how sensitive poets are and how in touch with feelings, etc. they are, but really all we care about is language. At least in the initial stages of the process of writing the poem, though later other things start to come in, and a really good poem usually needs something more than just an interest in the material of language to mean anything to a reader. — Matthew Zapruder

Fearlessness, absolutely. Discipline. You also need open-minded creativeness that lets everything in. You never want to lose a word or a phrase, yet every one should count. Always the best language possible. And, finally, knowing when to leave it alone. Stop when it's done. — Ben Harper

Money, after all, is an abstract artifact, like language - merely symbolized by the paper or coin or whatever. If you can fully grasp its abstractedness, especially in the computer age, it becomes quite clear that no group can monopolize this abstraction, except through a series of swindle. If the usurers had been bolder, they might have monopolized language as well as currency, and people would be saying we can't write more books because we don't have enough words, the way they now say we can't build starships, because we don't have enough money. — Robert Anton Wilson

I argue that it is not Woolf's remoteness that puts people off but her nearness that terrifies them. Her language is not a woolly blanket it is a sharp sword. The Waves, which is the most difficult of her works, is a strong-honed edge through the cloudiness most of us call life. It is uncomfortable to have the thick padded stuff ripped away. There is no warm blanket to be had out of Virginia Woolf; there is wind and sun and you naked. It is not remoteness of feeling in Woolf, it is excess; the unbearable quiver of nerves and the heart pounding. It is exposure.
And it is exactness. — Jeanette Winterson

Humanists were people who wanted to return to ideas found in old Greek and Latin writing of Greece and Rome, written many centuries earlier. Christian Humanists also wanted to get back to these ideas, but they were mainly concerned with learning about the early Christian Church, before it had become involved with money-making and superstition. They wanted to read the books of the early Church, especially the gospels of Christ, in the original language of Greek, so that they would know exactly what the writings meant. The leader of the Christian Humanists was Desiderius Erasmus (1466-1536), who attacked superstitions in the Catholic Church in his writing. — Michael A. Mullett

When we use a language, we should commit ourselves to knowing it, being able to read it, and writing it idiomatically. — Ron Jeffries

What a lover of words and their beauty discovers. . .is that there is literally a word for every object, material or immaterial, every relation, and every process that human beings have experienced. Because that is what words are: the crystallization in language of thousands of years of experience across numerous cultures and civilizations, each word being the most tangible flesh in which thought is tabernacled. — Charles Johnson

Must you write complete sentences each time, every time? Perish the thought. If your work consists only of fragments and floating clauses, the Grammar Police aren't going to come and take you away. Even William Strunk, that Mussolini of rhetoric, recognized the delicious pliability of language. "It is an old observation," he writes, "that the best writers sometimes disregard the rules of rhetoric." Yet he goes on to add this thought, which I urge you to consider: "Unless he is certain of doing well, [the writer] will probably do best to follow the rules." — Stephen King

To observe the world carefully, to write a lot and often, on a schedule if necessary, to use the dictionary a lot, to look up word origins, to analyze closely the work of writers you admire, to read not only contemporaries but writers of the past, to learn at least one foreign language, to live an interesting life outside of writing. — Lydia Davis

The resulting texts always took a narrative term, enigmatic at first but ultimately explicit and often premonitory. The semantic distribution of these basic elements diverted them from their original meaning, thus revealing their real significance. Henceforth, every form of writing will consist of an operation of decoding, of contamination, and of sense perversion. All this because all language is essentially mystification, and everything is fiction. — Brion Gysin

Probably the best way to describe my writing style is to refer you to "purple prose", which was a tag given to the early mass market magazine writers earning a half cent a word for their fiction. They had to use every adjective, verb and adverb in the English language to add word count to stories in order to feed and support families. — Tom Johnson

In language that's lyrical and haunting, Cheryl Strayed writes about bliss and loss, about the kind of grace that startles and transforms us in ordinary moments. — Ursula Hegi

I would say that the writers I like and trust have at the base of their prose something called the English sentence. An awful lot of modern writing seems to me to be a depressed use of language. Once, I called it "vow-of-poverty prose." No, give me the king in his countinghouse. Give me Updike. — Martin Amis

Writing has always been an interest of mine, and 'The Language of Flowers' combined my experience with foster care with something I've always wanted to do. — Vanessa Diffenbaugh

Good writing is the hardest form of thinking. It involves the agony of turning profoundly difficult thoughts into lucid form, then forcing them into the tight-fitting uniform of language, making them visible and clear. If the writing is good, then the result seems effortless and inevitable. But when you want to say something life-changing or ineffable in a single sentence, you face both the limitations of the sentence itself and the extent of your own talent. — Pat Conroy

New perspectives give birth to new historic ages. Humankind has had many dramatic revolutions of understanding - great uses of fire and the wheel, language and writing. We found that the earth only seems flat, the sun only seems to circle the earth, matter only seems solid. — Marilyn Ferguson

For centuries the writing-desk has contained sheets fit precisely for the communication of friends. Masters of language, poets of long ages, have turned from the sheet that endures to the sheet that perishes, pushing aside the tea-tray, drawing close to the fire (for letters are written when the dark presses around a bright red cave), and addressed themselves the task of reaching, touching, penetrating the individual heart. — Virginia Woolf

I love the sound of words, the feel of them, the flow of them. I love the challenge of finding just that perfect combination of words to describe a curl of the lip, a tilt of the chin, a change in the atmosphere. Done well, novel-writing can combine lyricism with practicality in a way that makes one think of grand tapestries, both functional and beautiful. Fifty years from now, I imagine I'll still be questing after just that right combination of words. — Lauren Willig

My name is Lev," said Lev.
"My name is Lydia," said the woman. And they shook hands, Lev's hand holding the scrunched-up kerchief and Lydia's hand rough with salt and smelling of egg, and then Lev asked, "What are you planning to do in En gland?" and Lydia said, "I have some interviews in London for jobs as a translator."
"That sounds promising."
"I hope so. I was a teacher of English at School 237 in Yarbl, so my language is very colloquial."
Lev looked at Lydia. It wasn't difficult to imagine her standing in front of a class and writing words on a blackboard. He said, "I wonder why you're leaving our country when you had a good job at School 237 in Yarbl?"
"Well," said Lydia, "I became very tired of the view from my window. Every day, summer and winter, I looked out at the schoolyard and the high fence and the apartment block beyond, and I began to imagine I would die seeing these things, and I didn't want this. I expect you understand what I mean? — Rose Tremain

I maintain that cultural sensitivity should be replaced by cultural awareness. Awareness implies research, consideration, thought, and judiciousness ...
Sensitivity denies equal access to language. It segregates and censors based on the background of the writer rather than the content of the story. No society can embrace cultural sensitivity and retain full capacity for freedom of speech. — Scott M. Roberts

I've been interested in writing and storytelling since I learned to read, but it wasn't until I read Dylan Thomas, when I was 14, that I became interested in language itself, and saw it as more than a transparent medium for a story. — Jay McInerney

I see manuscripts and books that are spoiled for the literary reader because they are one long stream of top-of-the-head writing, a writer telling a story without concern for precision or freshness in the use of language. Some of this storytelling reads as if it were spoken rather than written, stuffed with tired images that pop into the writer's head because they are so familiar. The top of the head is fit for growing hair, but not for generating fine prose. — Sol Stein

When writing dialogue, I hear it in both Russian and English, and try to find a language that combines the two. — David Bezmozgis

let us start by picturing the Japan archipelago lying in the sea by the Chinese mainland. If its proximity allowed it to become part of the Sinosphere and acquire a written culture, its distance benefited the development of indigenous writing. The Dover Strait, separating England and France, is only 34 kilometers (21 miles) wide. A fine swimmer can swim across it. In contrast, the shortest distance between Japan and the Korean Peninsula is five or six times greater, and between Japan and the Chinese mainland, twenty-five times greater. The current, moreover, is deadly. . . . Japan's distance from China gave it political and cultural freedom and made possible the flowering of its own writing. — Minae Mizumura

Nothing is so easy as to deceive one's self when one does not lack wit and is familiar with all the niceties of language. Language is a prostitute queen who descends and rises to all roles. Disguises herself, arrays herself in fine apparel, hides her head and effaces herself; an advocate who has an answer for everything, who has always foreseen everything, and who assumes a thousand forms in order to be right. The most honorable of men is he who thinks best and acts best, but the most powerful is he who is best able to talk and write — George Sand

Good writing ... involves the agony of turning profoundly difficult thoughts into lucid form, then forcing them into the tight-fitting uniform of language, making them visible and clear. — Pat Conroy

Personally, I think so-called "common language" is more interesting and apropos than "proper English"; it's passionate and powerful in ways that "wherefore art thou ass and thy elbow" just isn't. — J.R. Ward

Good girls like myself need subversion. Being solemn, I aspire to comedy. Being a novelist, I aspire to the musical. Being organized, I aspire to luminous chaos. Loving the power of grammar and the fine distinctions of language, I seek the part of the mind I didn't know was there, the part 'sheer,' 'no-manfathomed,' 'cliffs of fall. — Janet Burroway

DYER. No, I am not of your Mind, for the Dialogue was fitted up with too much Facility. Words must be pluckt from Obscurity and nourished with Care, improved with Art and corrected with Application. Labour and Time are the Instruments in the perfection of all Work. — Peter Ackroyd

Despite modifying his writing to suit the audiences, despite writing plays to draw large crowds, despite using other people's materials and copying plotlines from history, Shakespeare remains the preeminent artist of the English language and his reputation has reached such stratospheric heights as to border on idolatry (or Bardolatry as some people call it). Shakespeare was a product of his time and learned from his peers, but his plays transcend his time as all great works do - his genius is his own. As Ralph Waldo Emerson put it, Where is the master who could have taught Shakespeare? — William Shakespeare

Writing a poem is always a process of subtracting: you start with all of language available to you, and you choose a smaller field. — Matthea Harvey

Invisible prose only!" rules out the sparkling style of [writers] ... For [whom] vivid prose, and the visionary mind it evinces, rich with speculation, insight, and subjectivity, is the craft and offers a unique caliber of truth. Is there any other art form one would praise by saying it's "invisible"? By definition, art transcends the ordinary, calls attention to itself, and offers virtuosity as its calling card. One that makes it possible to do what metaphor does so well: illuminate what can't be wholly understood. — Diane Ackerman

Susan Griffin describes it as a time when "there is no intrinsic authority to my words." "I ... clean off my desk. I make telephone calls. I know I am avoiding the typewriter. I know that in my mind, where there might be words, there is simply a blankness. I may try to write and then my words bore me." But when the time is right, the waiting will have been worth it. "Because each time I write, each time the authentic words break through, I am changed. The older order that I was collapses and dies. I lose control. I do not know exactly what words will appear on the page. I follow language. I follow the sound of the words, and I am surprised and transformed by what I record." Excerpt from "Thoughts on Writing: A Diary," in The Writer on her Work. — Judith Barrington

I found sometimes, that it is of great help in handling such a case, to encourage them, to express their peculiar contents either in the form of writing or of drawing and painting. There are so many incomprehensible intuitions in such cases, phantasy fragments that rise from the unconscious, for which there is almost no suitable language. I let my patients find their own symbolic expressions, their mythology. — C. G. Jung

The concept of a writer writing a vivid and accurate scene in a language transparent and devoid of decoration so that we see through to the object without writerly distraction suffers the same contradiction as the concept of a painter painting a vivid and accurate scene with pigments transparent and devoid of color, including white and black - so that the paint will not get between us and the picture. — Samuel R. Delany

To write well consists of continuously making small erosions, wearing away grammar in its established form, current norms of language. It is an act of permanent rebellion and subversion against social environs. — Jose Ortega Y Gasset

The assignment was a two-page essay, in Greek, on any epigram of Callimachus that we chose. I'd done only a page and I started to hurry through the rest in impatient and slightly dishonest fashion, writing out the English and translating word by word. It was something Julian asked us not to do. The value of Greek prose composition, he said, was not that it gave one any particular facility in the language that could not be gained as easily by other methods but that if done properly, off the top of one's head, it taught one to think in Greek. One's thought patterns become different, he said, when forced into the confines of a rigid and unfamiliar tongue. Certain common ideas become inexpressible; other, previously undreamt-of ones spring to life, finding miraculous new articulation. — Donna Tartt

Literature might be called the art of story, and story might in turn be called a universal language, for every culture we know of has a tradition of storytelling. No doubt stories have touched your life, too, from bedtime stories you may have heard as a child to news stories you see on TV or read in a newspaper. We might even say that a major goal of living is to created the story of our own lives, a story we hope to take pleasure and pride in telling. — Andrea A. Lunsford

Gunn would be an important figure-rewarding, delightful, accomplished, enduring-in the history of English-language poetry even were his life not as fascinating as it now seems; he would be an important figure in the history of gay writing and in the history of transatlantic literary relations even were his poetry not so good as it is. With his life as it was and his works as they are, he's an obvious candidate for a volume of retrospective and critical essays, and this one is first-rate. — Stephen Burt

Language is like a road, it cannot be perceived all at once because it unfolds in time, whether heard or read. This narrative or temporal element has made writing and walking resemble each other. — Rebecca Solnit

I write in order to understand the images. Being what my agent ... somewhat ruefully calls a language playwright, is problematic because in production, you have to make the language lift off the page. But a good actor can turn it into human speech. I err sometimes toward having such a compound of images that if an actor lands heavily on each one, you never pull through to a larger idea. That's a problem for the audience. But I come to playwriting from the visual world - I used to be a painter. I also really love novels and that use of language. But it's tricky to ask that of the theatre. — Ellen McLaughlin

I want a book to contain a world - indeed the world. Writing is my main means of engagement with the world and I want the scars of that engagement to be left in the language. — Aleksandar Hemon

The good writer, the great writer, has what I have called the three S's: the power to see, to sense, and to say. That is, he is perceptive, he is feeling, and he has the power to express in language what he observes and reacts to. — Lawrence Clark Powell

Reading books makes us more attentive to our personage and the aesthetic world that we live in. Writers that we idolize use language, logic, and nuance to paint physical and emotional scenes with refined precision. A writer's use of vivid language creates lingering aftereffects that work their wonder on the reader's malleable mind. A stirred mind resurrects our semiconscious memories; it causes us to summon up enduring images of our family, friends, and acquaintances. Just as importantly, inspirational writing makes us recognize our own telling character traits and identify our formerly unexpressed thoughts and feelings. — Kilroy J. Oldster

Ugly programs are like ugly suspension bridges: they're much more liable to collapse than pretty ones, because the way humans (especially engineer-humans) perceive beauty is intimately related to our ability to process and understand complexity. A language that makes it hard to write elegant code makes it hard to write good code. — Eric S. Raymond

During the first months in Rome, my clandestine Italian diary is the only thing that consoles me, that gives me stability. Often, awake and restless in the middle of the night, I go to the desk to compose some paragraphs in Italian. It's an absolutely secret project. No one suspects, no one knows. I don't recognize the person who is writing in this diary, in this new, approximate language. But I know that it's the most genuine, most vulnerable part of me. — Jhumpa Lahiri

I started writing poetry because language was how I understood the world. It was a paradigm that made everything matter and in forms that were safe to hold what I felt. — Grace Cavalieri

Listening to Ella furiously and endlessly unfurl the yarns of the Mingus tales, I understood that the need to tell stories is deeply embedded in our minds, and inseparably entangled with the mechanisms that generate and absorb language. Narrative imagination
and therefore fiction
is a basic evolutionary tool of survival. We process the world by telling stories and produce human knowledge through our engagement with imagined selves. — Aleksandar Hemon

Knowing I might never visit the archives again, I had hit on a solution to get at Mezzofanti's proficiency: I'd count the letters he received in each language. If he got many, he must have been writing a lot, and that, maybe, pointed to a great deal of practice, then to a high degree of proficiency. It was a fair social science hypothesis.
I told Pasti about my plan. The librarian smirked at me. "You're a positivist, I think," he said. A positivist is someone who believes you can get at truths only through what can be counted, measured, and observed. I was shocked - I've been called names before, but never that. — Michael Erard

The guiding metaphor of classic style is seeing the world. The writer can see something that the reader has not yet noticed, and he orients the reader's gaze so that she can see it for herself. The purpose of writing is presentation, and its motive is disinterested truth. It succeeds when it aligns language with the truth, the proof of success being clarity and simplicity. The truth can be known, and is not the same as the language that reveals it; prose is a window onto the world. The writer knows the truth before putting it into words; he is not using the occasion of writing to sort out what he thinks. Nor does the writer of classic prose have to argue for the truth; he just needs to present it. That is because the reader is competent and can recognize the truth when she sees it, as long as she is given an unobstructed view. The writer and the reader are equals, and the process of directing the reader's gaze takes the form of a conversation. — Steven Pinker

The dogged effort to "denaturalize" gender in this text emerges, I think, from a strong desire both to counter the normative violence implied by ideal morphologies of sex and to uproot the pervasive assumptions about natural or presumptive heterosexuality that are informed by ordinary and academic discourses on sexuality. The writing of this denaturalization was not done simply out of a desire to play with language or prescribe theatrical antics in the place of "real" politics, as some critics have conjectured (as if theatre and politics are always distinct). It was done from a desire to live, to make life possible, and to rethink the possible as such. — Judith Butler

I think it would be cool if you were writing a ransom note on your computer, if the paper clip popped up and said, 'Looks like you're writing a ransom note. Need help? You should use more forceful language, you'll get more money.' — Demetri Martin

Jamie's viewpoint is expressed almost entirely in metaphor: If she was broken, she would slash him with her jagged edges, reckless as a drunkard with a shattered bottle. He's using physical language, but he isn't talking about the physical details of the situation. Claire alludes to her emotion and shows it by her actions, but Jamie is thinking directly in pure emotions. — Diana Gabaldon

As we have seen, French culture and language interacted with native English culture for several generations after the Norman Conquest. A common word such as 'castle' is a French loan word, for example; and the whole romance tradition comes from the French. But this sensibility, culture, and language becomes integrated with native culture.
As well as the beginnings of what came to be called a courtly love tradition, we can find in Early Middle English (around the time that Layamon was writing Brut) the growth of a local tradition of songs and ballads. — Ronald Carter

Somehow, we were passing the boundaries of language and finding clarity in shared thought, even if we were just talking about beer! — Gerry Abbey

I require silence to write the way an apple tree requires winter to make fruit. Being with people is intimate and joyous, but at some point, I'll wander off by myself. The paradox is that what began in childhood as an act of necessary solitude has led me straight to a life with others, in which I fly to China or Lithuania or northern Minnesota to read my poems and talk with other people who love language made into a lathe on which a life can be tuned and be turned. — Jane Hirshfield

Real novelists, those we admire, those we consider timeless in their language and character and scene, those who receive accolades for inventive language and form, have writing lives we imagine in specific ways. — Susan Straight

I have been writing fairy tales for as long as I can remember. Not much has changed in terms of my natural attraction to the narrative techniques of fairy tales. My appreciation of them in the traditional stories has deepened, especially of flat and unadorned language, intuitive logic, abstraction, and everyday magic. — Kate Bernheimer

The main difference between writing JavaScript code like the average Joe (or Jill) and writing it like a JavaScript ninja is understanding JavaScript as a functional language. — Anonymous

Writing is the Latin of our times. The modern language of the people is video and sound. — Lawrence Lessig

Read good writing, and don't live in the present. Live in the deep past, with the language of the Koran or the Mabinogion or Mother Goose or Dickens or Dickinson or Baldwin or whatever speaks to you deeply. Literature is not high school and it's not actually necessary to know what everyone around you is wearing, in terms of style, and being influenced by people who are being published in this very moment is going to make you look just like them, which is probably not a good long-term goal for being yourself or making a meaningful contribution. At any point in history there is a great tide of writers of similar tone, they wash in, they wash out, the strange starfish stay behind, and the conches. — Rebecca Solnit

The ancient Hebrews did not write the name of God. I often wish the Christians would follow suit, as never was a word more misused in writing and speaking than the name of the Lord. — Dagobert D. Runes

I remember the astonishment I felt when I first read Shakespeare. I expected to receive a powerful esthetic pleasure, but having read, one after the other, works regarded as his best: "King Lear," "Romeo and Juliet," "Hamlet" and "Macbeth," not only did I feel no delight, but I felt an irresistible repulsion and tedium ... Shakespeare can not be recognized either as a great genius, or even as an average author ... far from being the height of perfection, [King Lear] is a very bad, carelessly composed production, ... can not evoke among us anything but aversion and weariness ... All his characters speak, not their own, but always one and the same Shakespearian, pretentious, and unnatural language ... — Leo Tolstoy