Graham Greene (1904 – 1991)
Prolific English novelist, playwright, short story writer, travel writer and critic whose works explore the ambivalent moral and political issues of the modern world.
...he knew there wasn't a soul in the mob he could trust – except perhaps Dallow. That didn't matter. You couldn't make mistakes when you trusted nobody.
Sooner or later...one has to take sides – if one is to remain human.
The hands of the guilty don't necessarily tremble; only in stories does a dropped glass betray agitation. Tension is more often shown in the studied action.
[After Hale's cremation] She came out of the crematorium, and there from the twin towers above her head fumed the very last of Fred, a thin stream of grey smoke from the ovens. Fred dropped indistinguishable grey ash on the pink blossoms: he became part of the smoke nuisance over London, and Ida wept.
The moment comes when a character does or says something you hadn't thought about. At that moment he's alive and you leave it to him.
The sense of unhappiness is so much easier to convey than that of happiness. In misery we seem aware of our own existence, even though it may be in the form of a monstrous egotism: this pain of mine is individual, this nerve that winces belong to me and to no other. But happiness annihilates us: we lose our identity.
Man is made by the places in which he lives...
Cynicism is cheap—you can buy it at any Monoprix store—it’s built into all poor-quality goods.
A story has no beginning or end: arbitrarily one chooses that moment from which to look back or from which to look ahead.
That instinct for human character that is perhaps inherent in an imaginative writer.
Life was a series of complicated tactical exercises ...
... it was the little things which tripped you up.
In Italy, for thirty years under the Borgias, they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace - and what did they produce? The cuckoo clock.
Perhaps his laughter saved them — it must be difficult to shoot a laughing man: you have to feel important to kill.
Its typical of Mexico, of the whole human race perhaps — violence in favour of an ideal and then the ideal lost but the violence just going on.
The economy of a novelist is a little like that of a careful housewife who is unwilling to throw away anything that might perhaps serve its turn. Perhaps the comparison is closer to the Chinese cook who leaves hardly any part of a duck unserved.
"Under my cloak, a fig for the King!"
"People talk," Ida Arnold said. "People talk all the time."
Those who marry God can become domesticated too—it’s just as hum-drum a marriage as all the others. The word “Love” means a formal touch of the lips as in the ceremony of the Mass, and “Ave Maria” like “dearest” is a phrase to open a letter. This marriage like the world’s marriages was held together by habits and tastes shared in common between God and themselves—it was God’s taste to be worshipped and their taste to worship, but only at stated hours like a suburban embrace on a Saturday night.
And all that time I couldn’t work. So much of a novelist’s writing, as I have said, takes place in the unconscious: in those depths the last word is written before the first word appears on the paper. We remember details of our story, we do not invent them. War didn’t trouble those deep sea-caves, but not there was something of infinitely greater importance to me than war, than my novel – the end of love. That was being worked out not, like a story: the pointed word that sent her crying, that seemed to have come so spontaneously to the lips, had been sharpened in those underwater caverns. My novel lagged, but my love hurried like inspiration to the end.