William Faulkner (1897 – 1962)
American novelist and poet whose works feature his native state of Mississippi.
People to whom sin is just a matter of words, to them salvation is just words too.
Women do have an affinity for evil, for believing that no woman is to be trusted, but that some men are too innocent to protect themselves.
If we Americans are to survive it will have to be because we choose and elect and defend to be first of all Americans; to present to the world one homogeneous and unbroken front, whether of white Americans or black ones or purple or blue or green. Maybe the purpose of this sorry and tragic error committed in my native Mississippi by two white adults on an afflicted Negro child is to prove to us whether or not we deserve to survive. Because if we in America have reached that point in our desperate culture when we must murder children, no matter for what reason or what color, we don’t deserve to survive, and probably won’t.
Art is not concerned with environment either; it doesn't care where it is … the best job that was ever offered to me was to become a landlord in a brothel. In my opinion it’s the perfect milieu for an artist to work in.
Be scared. You can’t help that. But don’t be afraid. Ain’t nothing in the woods going to hurt you unless you corner it, or it smells that you are afraid. A bear or a deer, too, has got to be scared of a coward the same as a brave man has got to be.
Life is motion, and motion is concerned with what makes man move — which is ambition, power, pleasure. What time a man can devote to morality, he must take by force from the motion of which he is a part. He is compelled to make choices between good and evil sooner or later, because moral conscience demands that from him in order that he can live with himself tomorrow. His moral conscience is the curse he had to accept from the gods in order to gain from them the right to dream.
"Now I want you to tell me just one more thing. Why do you hate the South?"
"I dont hate it,” Quentin said, quickly, at once, immediately; “I dont hate it,” he said. I dont hate it he thought, panting in the cold air, the iron New England dark; I dont. I dont! I dont hate it! I dont hate it!
If I had not existed, someone else would have written me, Hemingway, Dostoevsky, all of us. Proof of that is that there are about three candidates for the authorship of Shakespeare's plays. But what is important is Hamlet and A Midsummer Night's Dream, not who wrote them, but that somebody did. The artist is of no importance. Only what he creates is important, since there is nothing new to be said. Shakespeare, Balzac, Homer have all written about the same things, and if they had lived one thousand or two thousand years longer, the publishers wouldn’t have needed anyone since.
I decline to accept the end of man. It is easy enough to say that man is immortal because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.
The artist doesn't have time to listen to the critics. The ones who want to be writers read the reviews, the ones who want to write don't have the time to read reviews.
Always dream and shoot higher than you know you can do. Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself. An artist is a creature driven by demons. He don’t know why they choose him and he’s usually too busy to wonder why. He is completely amoral in that he will rob, borrow, beg, or steal from anybody and everybody to get the work done.
People between twenty and forty are not sympathetic. The child has the capacity to do but it can’t know. It only knows when it is no longer able to do — after forty. Between twenty and forty the will of the child to do gets stronger, more dangerous, but it has not begun to learn to know yet. Since his capacity to do is forced into channels of evil through environment and pressures, man is strong before he is moral. The world’s anguish is caused by people between twenty and forty.
Don Quixote — I read that every year, as some do the Bible.
Who is he who will affirm that there must be a web of flesh and bone to hold the shape of love?
So vast, so limitless in capacity is man's imagination to disperse and burn away the rubble-dross of fact and probability, leaving only truth and dream.
Time is a fluid condition which has no existence except in the momentary avatars of individual people. There is no such thing as was — only is. If was existed, there would be no grief or sorrow. I like to think of the world I created as being a kind of keystone in the universe; that, small as that keystone is, if it were ever taken away the universe itself would collapse.
For the holy are susceptible to to evil, even as you and I, signori; they too are helpless before sin without God's aid… and the holy can be fooled by sin as quickly as you or I, signori. Quicker, because they are holy.
The past is never dead. It's not even past.
We never thought, sitting in my office on those afternoons, discussing Voltaire and Ingersoll, that we would ever be brought to this, did we? You, the atheist whom the mere sight of a church spire on the sky could enrage; and I who have never been able to divorce myself from reason enough even to accept your pleasant and labor-saving theory of nihilism.