Quotes About Imagination

If a picture is worth a thousand words, then a story is worth a thousand assurances.

Once you give your attention to the title Don't Think of an Elephant, no matter how hard you try you cannot not think of an elephant. It is the same way with stories.

That's what I love about reading: one tiny thing will interest you in a book, and that tiny thing will lead you onto another book, and another bit there will lead you onto a third book. It's geometrically progressive—all with no end in sight, and for no other reason than sheer enjoyment.

If I could have anything I wanted, I would choose story without end, and it seems I have lots of company in that.

The wonderful thing about books--and the thing that made them such a refuge for the islanders during the Occupation--is that they take us out of our time and place and understanding, and transport us not just into the world of the story, but into the world of our fellow readers, who have stories of their own.

This world of the imagination is fancy free and violently opposed to common sense.

Books swept me away, this way and that, one after the other; I made endless vows according to their lights for I believed them.

I wake up thinking: What am I reading? What will I read next? I'm terrified that I'll run out, that I will read through all I want to, and be forced to learn wildflowers at last, to keep awake.

The written word is weak. Many people prefer life to it. Life gets your blood going, & it smells good. Writing is mere writing, literature is mere. It appeals only to the subtlest senses—the imagination's vision, & the imagination's hearing—& the moral sense, & the intellect. This writing that you do, that so thrills you, that so rocks & exhilarates you, as if you were dancing next to the band, is barely audible to anyone else.

Many writers do little else but sit in small rooms recalling the real world.

The reader's ear must adjust down from loud life to the subtle, imaginary sounds of the written word. An ordinary reader picking up a book can't yet hear a thing; it will take half an hour to pick up the writing's modulations, its ups and downs and louds and softs.

When you open a book," the sentimental library posters said, "anything can happen." This was so. A book of fiction was a bomb. It was a land mine you wanted to go off. You wanted it to blow your whole day. Unfortunately, hundreds of thousands of books were duds. They had been rusting out of everyone's way for so long that they no longer worked. There was no way to distinguish the duds from the live mines except to throw yourself at them headlong, one by one.

For writing a first draft requires from the writer a peculiar internal state which ordinary life does not induce. ... how to set yourself spinning?

I set up and staged hundreds of ends-of-the-world and watched, enthralled, as they played themselves out.

People who read are not too lazy to turn on the television; they prefer books.

Appealing workplaces are to be avoided. One wants a room with no view, so imagination can meet memory in the dark.

The interior life is often stupid. Its egoism blinds it and deafens it; its imagination spins out ignorant tales, fascinated. It fancies that the western wind blows on the Self, and leaves fall at the feet of the Self for a reason, and people are watching. A mind risks real ignorance for the sometimes paltry prize of an imagination enriched. The trick of reason is to get the imagination to seize the actual world—if only from time to time.

In nature, improbabilities are the one stock in trade. The whole creation is one lunatic fringe. If creation had been left up to me, I'm sure I wouldn't have had the imagination or courage to do more than shape a single, reasonably sized atom, smooth as a snowball, and let it go at that.

Private life, book life, took place where words met imagination without passing through the world.

What can an artist use but materials, such as they are? What can he light but the short string of his gut, and when that's burnt out, any muck ready to hand?

What I sought in books was imagination. It was depth, depth of thought and feeling; some sort of extreme of subject matter; some nearness to death; some call to courage. I myself was getting wild; I wanted wildness, originality, genius, rapture, hope. I wanted strength, not tea parties. What I sought in books was a world whose surfaces, whose people and events and days lived, actually matched the exaltation of the interior life. There you could live.

It should surprise no one that the life of the writer--such as it is--is colorless to the point of sensory deprivation. Many writers do little else but sit in small rooms recalling the real world. This explains why so many books describe the author's childhood. A writer's childhood may well have been the occasion of his only firsthand experience.

The secret of seeing is to sail on solar wind.

But there is no one but us. There never has been. There have been generations which remembered, and generations which forgot; there has never been a generation of whole men and women who lived well for even one day. Yet some have imagined well, with honesty and art, the detail of such a life, and have described it with such grace, that we mistake vision for history, dream for description, and fancy that life has devolved.