Paul Auster Quotes
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Dismantling the architecture of my discontent
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You're too good for this world, and because of that the world will eventually crush you.
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I don't know why I write. If I knew the answer, I probably wouldn't have to. But it is a compulsion. You don't choose it, it chooses you. And I wouldn't recommend it to anybody.
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When I am writing, even though it's hard and I do struggle often, I am happier than when I'm not writing. I feel alive. Whereas when I'm not writing, I feel like your common every-day neurotic.
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What I'm trying to do [in Winter Journal] is to tell the story of a man's life from birth, but there are different versions of him, four different versions.
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There is a line from the Marina Tsvetaeva poem I'm so fond of: "In this most Christian of worlds/ All poets are Jews." What she means is that writers and artists are outside the normal flow of daily life, the normal flow of society in general.
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For the first time in his life, he stopped worrying about results, and as a consequence the terms “success” and “failure” had suddenly lost their meaning for him. The true purpose of art was not to create beautiful objects, he discovered. It was a method of understanding, a way of penetrating the world and finding one’s place in it, and whatever aesthetic qualities an individual canvas might have were almost an incidental by-product of the effort to engage oneself in this struggle, to enter into the thick of things.
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The best filmmakers, I think, have always had very narrow frameworks for their stories, and then they can go deeply, rather than skimming the surface.
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At that point, Noriko finally breaks down and begins to cry sobbing into her hands as the floodgates open - this young woman who has suffered in silence for so long, this good woman who refuse to believe she's good, for only the good doubt their own goodness, which is what makes them good in the first place. The bad know they are good, but the good know nothing. They spend their lives forgiving others, but they can't forgive themselves.
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If you're not ready for everything, you're not ready for anything.
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I write different kinds of sentences, depending on what the book is, and what the project is. I see my work evolving. I'm writing long sentences now, something I didn't use to do. I had some kind of breakthrough, five or six years ago, in Invisible, and in Sunset Park after that. I discovered a new way to write sentences. And I find it exhilarating.
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What matters is not how well you can avoid trouble, but how you cope with trouble when it comes.
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Each man, therefore, is the entire world, bearing within his genes a memory of all mankind. Or as Leibniz put it: ‘Every living substance is a perpetual living mirror of the universe’
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Each book I've done somehow finds its own unique form, a specific way it has to be written, and once I find it, I stick with it.
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When every card in the deck is stacked against you, the only way to win a hand is to break the rules. You beg, borrow, and steal, as the old adage goes, and if you happen to get caught in the act, at least you´ve gone down fighting the good fight.
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When I write, the story is always uppermost in my mind, and I feel that everything must be sacrificed to it. All elegant passages, all the curious details, all the so-called beautiful writing - if they are not truly relevant to what I am trying to say, then they have to go.
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You have to protect it too, you can't let just any stupid person take it and do something demoralizing with it. At the same time, I don't believe in being so rigid about controlling what happens either.
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It's beyond the grasp of anyone's memory to recall conversations in kind of [memoir] detail. So it's fake. It's all made up.
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I have to say in premise 'Winter Journal' is really not a memoir. And I don't even think of it as an autobiography. I think of it as a literary composition - similar to music - composed of autobiographical fragments. I'm really not telling the story of my life in a coherent narrative form.
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Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.
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The kind of fiction I'm trying to write is about telling the truth.
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He would conclude that nothing was real except chance.
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To leave the world a little better than you found it. That's the best a man can ever do.
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Money's important. Everyone cares about money. And when you don't have money, money becomes the overriding obsession of your life.