Flannery O'Connor Quotes
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The writer should never be ashamed of staring. There is nothing that does not require his attention.
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Those who have no absolute values cannot let the relative remain merely relative; they are always raising it to the level of the absolute.
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Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay. I'm always irritated by people who imply that writing fiction is an escape from reality. It is a plunge into reality and it's very shocking to the system.
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The fiction of Ayn Rand is as low as you can get re fiction. I hope you picked it up off the floor of the subway and threw it in the nearest garbage pail. She makes Mickey Spillane look like Dostoevsky.
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I spend three hours a day writing and the rest of my day getting over it.
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There was a time when the average reader read a novel simply for the moral he could get out of it, and however na?ve that may have been, it was a good deal less na?ve than some of the limited objectives he has now. Today novels are considered to be entirely concerned with the social or economic or psychological forces that they will by necessity exhibit, or with those details of daily life that are for the good novelist only means to some deeper end.
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It is hard to make your adversaries real people unless you recognize yourself in them - in which case, if you don't watch out, they cease to be adversaries.
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She was a talker, wasn't she?" Bobby Lee said, sliding down the ditch with a yodel. "She would of been a good woman," The Misfit said, "if it had been somebody there to shoot her every minute of her life." "Some fun!" Bobby Lee said. "Shut up, Bobby Lee," The Misfit said. "It's no real pleasure in life.
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There is a certain embarrassment about being a storyteller in these times when stories are considered not quite as satisfying as statements and statements not quite as satisfying as statistics; but in the long run, a people is known, not by its statements or its statistics, but by the stories it tells.
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The Southerner is usually tolerant of those weaknesses that proceed from innocence.
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Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.
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I find that most people know what a story is until they sit down to write one.
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I don’t want any of this artificial superficial feeling stimulated by the choir. Today I have proved myself a glutton—for Scotch oatmeal cookies and erotic thought. There is nothing left to say of me.
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No art is sunk in the self, but rather, in art the self becomes self-forgetful in order to meet the demands of the thing seen and the thing being made.
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I love a lot of people, understand none of them.
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St. Cyril of Jerusalem, in instructing catechumens, wrote: “The dragon sits by the side of the road, watching those who pass. Beware lest he devour you. We go to the Father of Souls, but it is necessary to pass by the dragon.” No matter what form the dragon may take, it is of this mysterious passage past him, or into his jaws, that stories of any depth will always be concerned to tell, and this being the case, it requires considerable courage at any time, in any country, not to turn away from the storyteller.
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When you can assume that your audience holds the same beliefs you do, you can relax and use more normal means of talking to it; when you have to assume that it does not, then you have to make your vision apparent by shock -- to the hard of hearing you shout, and for the almost-blind you draw large and startling figures.
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You can't clobber any reader while he's looking. You divert his attention, then you clobber him and he never knows what hit him.
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There are some of us who have to pay for our faith every step of the way and who have to work out dramatically what it would be like without it and if being without it would be ultimately possible or not.
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It's always wrong of course to say that you can't do this or you can't do that in fiction. You can do anything you can get away with, but nobody has ever gotten away with much.
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Where you come from is gone, where you thought you were going to never was there, and where you are is no good unless you can get away from it
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The high-school English teacher will be fulfilling his responsibility if he furnishes the student a guided opportunity, through the best writing of the past, to come, in time, to an understanding of the best writing of the present. He will teach literature, not social studies or little lessons in democracy or the customs of many lands. And if the student finds that this is not to his taste? Well, that is regrettable. Most regrettable. His taste should not be consulted; it is being formed.
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Art never responds to the wish to make it democratic; it is not for everybody; it is only for those who are willing to undergo the effort needed to understand it.
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I am very much afraid that to the fiction writer the fact that we shall always have the poor with us is a source of satisfaction,for it means, essentially, that he will always be able to find someone like himself.