The unspoken factor is love. The reason I can work so hard at my writing is that it’s not work for me.
JOHN IRVINGThe unspoken factor is love. The reason I can work so hard at my writing is that it’s not work for me.
More John Irving Quotes
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You’re nice,’ Cushie told him, squeezing his hand. ‘And you’re my oldest friend.’ But they both must have known that you can know someone all your life and never quite be friends.
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I’ve always been slow but I’m even slower now. I’m more into the waiting, or I guess I’m more patient about the waiting.
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It is your responsibility to find fault with me, it is mine to hear you out. But don’t expect me to change.
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Watch out for people who call themselves religious; make sure you know what they mean – make sure they know what they mean!
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Patriotism is not necessarily defined as blind devotion to a president’s particular agenda – and that to dispute a presidential policy is not necessarily anti-American.
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The way you define yourself as a writer is that you write every time you have a free minute. If you didn’t behave that way you would never do anything.
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What a phrase that is: ‘that explains everything!’ I know better than to think anything ‘explains everything’ today.
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When Jack Burns needed to hold his mother’s hand, his fingers could see in the dark.
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You don’t want to be ungenerous toward people who give you prizes, but it is never the social or political message that interests me in a novel. I begin with an interest in a relationship, a situation, a character.
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THERE’S NO MONKEY BUSINESS ABOUT THIS ELECTION,’ he told the voters. ‘IF YOU’RE ENOUGH OF AN ASSHOLE TO VOTE FOR NIXON, YOUR DUMB VOTE WILL BE COUNTED––JUST LIKE ANYBODY ELSE!
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A part of adolescence is feelimg that there’s no one else around who’s enough like youself to understand you.
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…every study of the gods, of everyone’s gods, is a revelation of vengeance towards the innocent.
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The building of the architecture of a novel – the craft of it – is something I never tire of.
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In the world according to Garp, we are all terminal cases
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You can’t learn everything you need to know legally.
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In an episodic treatment, such as a teleplay is, you have the ability to do what you can do in a novel, which is flash back and flash forward in the same instant, in the same scene, in the same voice.
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It is hard work and great art to make life not so serious.
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You can’t say you’re going to ban something in the name of good taste, because then you have directed someone to play the role of good-taste police. We – Americans – permit bad taste in this country. In fact, we even encourage it.
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How we love to love things for other people; how we love to have other people love things through our eyes.
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He also knew that rivals are best unmanned by being ignored.
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There’s nothing as scary as the future.
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Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties.
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The main character and the most important character are not always the same person – you have to know the difference.
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Just when you begin thinking of yourself as memorable, you run into someone who can’t even remember having met you
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YOU LET ME DROWN!” Owen said. “YOU DIDN’T DO ANYTHING! YOU JUST WATCHED ME DROWN! I’M ALREADY DEAD!” he told us. “REMEMBER THAT: YOU LET ME DIE.
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All I say is: Let us leave les folles alone; let’s just leave them be. Don’t judge them. You are not superior to them – don’t put them down.
JOHN IRVING