James Salter Quotes
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A name, of course is like a piece of clothing, isn't it? It gives you an impression right away.
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I've always said that I felt women are more heroic.
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I'm a 'frotteur,' someone who likes to rub words in his hand, to turn them around and feel them, to wonder if that really is the best word possible. Does that word in this sentence have any electric potential? Does it do anything? Too much electricity will make your reader's hair frizzy. There's a question of pacing.
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I write down portions, maybe fragments, and perhaps an imperfect view of what I'm hoping to write. Out of that, I keep trying to find exactly what I want.
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The publishers, as I remember at the very beginning of my career, wrote letters with their fountain pens. A letter is different from a phone call or fax. It's a different kind of intimacy. That pervaded the entire business of writing and publishing.
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Although I've made notes for things and even written synopses sitting in trains or on park benches, for the complete composition of things I need absolute solitude, preferably an empty house.
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The writing is really important in books that affect me. I read for the writing. The story is usually of less interest to me. It's the words that break your heart.
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My idea of writing is of unflinching and continual effort, somehow trying to find the right words until you reach a point where you can make no further progress and you either have something or you don't.
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There is no real beauty without some slight imperfection.
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The notion that anything can be invented wholly and that these invented things are classified as 'fiction' and that other writing, presumably not made up, is called 'nonfiction' strikes me as a very arbitrary separation of things.
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Certain people can keep a word tune, so to speak, and certain people cannot. And, above all, certain people can tell a story, and other people can't. They don't hear that point where something else has to come.
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I have said many times I don't want to be considered one who once flew fighters. That's not who I am. I devoted the subsequent 50 years - more - to writing.
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Man was very fortunate to have invented the book. Without it, the past would completely vanish, and we would be left with nothing, we would be naked on earth.
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I always knew writing a novel was a great thing.
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Happiness is often at its most intense when it is based on inequality.
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West Pointers tend to be rigorously honest - more than necessary, in my view.
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I sometimes say that I don't make anything up - obviously that's not true. But I am uninterested in writers who say that everything comes out of the imagination. I would rather be in a room with someone who is telling the story of his life, which may be exaggerated and even have lies in it, but I want to hear the true story, essentially.
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There came a time when I felt I was not going to be satisfied with life unless I could write.
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'The Paris Review' was always the pinnacle: it was the place to be published. You were thrilled if you were published in 'The Paris Review,' and George Plimpton himself was practically mythical. He was a legendary figure.
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Like books you will never have the chance to read, there are languages you do not know, and you're not going to get a chance to learn, so you'll never really know what was written, only the approximation.
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In 1957, I decided: write or perish.
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Your parents are the parents you know best. Your brother and sister, if you have them, are the brother and sister you know best. They may not be the ones you like the best. They may not be the most interesting, but they are the closest and probably the clearest to you.
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A film writer is very much like a party girl. While you're good-looking and still unlined, the possibilities seem endless. But your appeal doesn't last long and you're quickly discarded.
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It's great to listen to men talk about sports or fights or war or even hunting sometimes, but the presence of the other, the presence of art and beauty, which crude masculinity seems to discount, is essential. Real civilization and real manhood seem to me to include those.