Dave

“You’ll have stopped making sentences in quarantine, In the special ward set aside for sentence making once the outline is finished, The way you were taught in school. Instead, writing becomes intrinsic to the act of thinking, Completely intertwined with it. You’re also learning to trust the ability to work in your head And learning how your mind works, Which is something you may not have noticed before. We’re always hastening to be done writing, But we’re also hastening to get out of the presence of our thoughts. Everything about thinking makes us nervous. We don’t believe there’s much of value to be found there. We don’t know when we’ll come to the end of our thoughts, But we think it may be soon. Why? Your mind is silent yet filled with voices and uncertainty. The uncertainty you feel is one of the places sentences will come from, And experience will make your uncertainty more certain. Stop fearing what you’ll find as you think. Give yourself over to this experiment. Your intentions will diverge from themselves. Your starting point may lead to places you didn’t imagine, Places that ask you to reconsider your starting point. You may feel yourself clinging to your original intention. Why? Because it came first? Why not follow the crosscurrents of your thinking And see where they lead? I don’t mean follow them blindly. Allow your thinking to adjust your intentions in the light of your discoveries. This may mean relinquishing your original intention If you find a better one as you write. The piece you’re writing is simply the one that happens to get written. If you’d begun another way, made a different turn, even started in a different mood, A different piece would have come into being. The writer’s world is full of parallel universes. You discover, word by word, the one you discover. Ten minutes later—another hour of thought—and you would have found your way into a different universe. The piece is permeable to the world around it. It’s responsive to time itself, to the very hour of its creation. This is an immensely freeing thing to understand. It liberates you from the anxiety of sequence, The fear that there’s only one way through your subject, Only one useful approach. Learn to accept the discontinuity between yourself and what you write, The discontinuity between your will, your intention, your plan And the discoveries you make as you work. Abandon the idea of predetermination, The shaping force of your intention, Until you’ve given it up for good. Bring your intentions, by all means, but accept that the language we use Is a language of accidentals, always skewing away from the course we set. This is something not to mourn but to revel in— Not only for the friction and sideslip inherent in the language But for freeing us from the narrowness of our preconceptions.”
― Verlyn Klinkenborg, Several Short Sentences About Writing

“In all imaginative writing sympathy for the subject is necessary not because it is the politically correct or morally decent posture to adopt but because an absence of sympathy shuts down the mind: engagement fails, the flow of association dries up, and the work narrows. What I mean by sympathy is simply that level of empathic understanding that endows the subject with dimension. The empathy that allows us, the readers, to see the "other" as the other might see him or herself is the empathy that provides movement in the writing.

When someone writes a Mommie Dearest memoir - where the narrator is presented as an innocent and the subject as a monster - the work fails because the situation remains static. For the drama to deepen, we must see the loneliness of the monster and the cunning of the innocent. Above all, it is the narrator who must complicate in order that the subject be given life.”
― Vivian Gornick, The Situation and the Story: The Art of Personal Narrative

“I am going to describe her life from the inside outward, from its core, the house as well, rooms in which life was gathered, rooms in which the morning sunlight, the floors spread with Oriental rugs that had been her mother-in-law’s, apricot, rough and tan, rugs which though worn seemed to drink the sun, to collect its warmth; books, potpourris, cushions in colors of Matisse, objects glistening like evidence, many which might had they been possessed by ancient people, have been placed in the tombs for another life: clear crystal dice, pieces of staghorn, amber beads, boxes, sculptures, wooden balls, magazines in which were photographs of women to whom she compared herself.”
― James Salter, Light Years

“prayer is to religion what original research is to science,”
― Thomas Merton, Contemplative Prayer