Eileen Myles Quotes

The Catcher in the Rye had such a deep impact on me, because it felt like it was just Holden and me. I didn't feel like any other person had read that book. It felt like my secret. Writing that I identify with feels like it's just me and the writer. So I hope that whoever is reading what I do feels like that.

I had self-doubt about whether my story was interesting to people. I didn't want to write something that was anecdotal. It was important to me that people would get something out of my book. I want people to read it and say, "Now I don't feel so alone," or "I'm going to remember that next time I'm being an asshole."

Camerado! This is no book; who touches this touches a man.

The Big Chill is one of those things that everybody can identify with. Between eight characters, they can pick somebody who's somewhat like them.

Every writer dreams of writing a book that will touch people.

In You Are Not Dead Wendy Xu breaks all the old rules that have never done us any favors anyway. She writes beautifully, noticing who we are, and letting us see ourselves with a little more humanity, a little more humor, a little more humility. I'm happy to have read this book.

You have with you the book you were reading in the cafe, which you are eager to continue, so that you can then hand it on to her, to communicate again with her through the channel dug by others' words, which, as they are uttered by an alien voice, by the voice of that silent nobody made of ink and typographical spacing, can become yours and hers, a language, a code between the two of you, a means to exchange signals and recognize each other.

Writing is such a strangely and radically private act, and yet its purpose is this great sense of connection and community. I mean, I wanted people to love the book. And the only way to get them to love it is to try to make it good for them. So of course the audience has to be considered.

[In the moment of reading writer and reader] are both briefly their best selves, or at least better selves. A flawed human being writes something and 60 years later a reader picks up the book and something in them rises to meet it.

Two things put me in the spirit to give. One is that I have come to think of everyone with whom I come into contast as a patient in the emergency room. I see a lot of gaping wounds and dazed expressions. Or, as Marianne Moore put it, "The world's an orphan's home." And this feels more true than almost anything else I know. But so many of us can be soothed by writing: think of how many times you have opened a book, read one line, and said, "Yes!" And I want to give people that feeling, too, of connection, communication.

If a poet writes to save his soul, he may save the soul of others.

The aim of my writing is to utterly remove the distance between author and reader so that the book becomes a sort of semipermeable membrane through which feelings, ideas, nutrients pass.

... every time you look at the world and the people in it closely, lovingly, imaginatively, it changes you. The world, under the microscope of your attention, opens up like a beautiful, strange flower and gives itself back to you in ways you could never imagine.

A poem is a window that hangs between two or more human beings who otherwise live in darkened rooms.

No tears in the writer, no tears in the reader.

I write because I want to end my loneliness. Books make people less alone. That, before and after everything else, is what books do. They show us that conversations are possible across distances.

The book works better if I know everything I can about the ending. Not just what happens, but how it happens and what the language is; not just the last sentence, but enough of the sentences surrounding that last sentence to know what the tone of voice is. I imagined it as something almost musical. Then you are writing toward something; you know the sound of your voice at the end of the story. That's how you want to sound in those final sentences: the degree that it is uplifting or not, the degree that it is melancholic or not.

Miss Abigail, I want to be an author because writers know when a person is lonely. I mean, when Molly read me some books, those writers reached out and said, Look Gideon, we know about your loneliness and we know you're feeling downtrodden. And they said...I'll stand up for you. You're not lone anymore.

Because I write realistic fiction, I generally don't think about fixing anyone - I just think about how I want to feel at the end of the book - And I try to write toward that feeling.

The reader is a friend, not an adversary, not a spectator.

Your movie should lull people into a place of openness and vulnerability. If it is just a diatribe, it's never going to work.

I have walked with people whose eyes are full of light but who see nothing in sea or sky, nothing in city streets, nothing in books. It were far better to sail forever in the night of blindness with sense, and feeling, and mind, than to be content with the mere act of seeing. The only lightless dark is the night of darkness in ignorance and insensibility.

The best book of the year, Grobel's writing is quite marvelous. The Hustons reads vividly, just like one of John Huston's great films.

Royal Young's writing is that rare blend of irony and beauty.

Books are well written, or badly written. That is all.