Cynthia Ozick Quotes

I would like to be proud of having written some poems that will be remembered, but I will never know whether I will have any reason to be proud of that.

I can't say that winning the Pen/Faulkner was a dream come true because I would never have dared to dream it.

As a young poet, you need corroboration, and that's what publication does.

Back in 1992, I had my first story accepted by 'The New Yorker.'

I wanted to see my name on the cover of a book. If your name is in the Library of Congress, you're immortal.

Publication in 'The New Yorker' meant everything, and it's no exaggeration to say that it changed my life.

'Made it as a writer'? I'm still wondering if I've made it as a writer. I've made it as a published writer of the type of SF that I want to write and read, but I'm still waiting for that big breakthrough.

I am not expecting anyone to feel sorry for me, but when friends ask how it feels to be a debut novelist who has also been long listed for the Man Booker prize, I have to admit that my response has confused me. I am so overwhelmed, so delighted, so honoured and so surprised, I have come out in a violent cold.

I didn't ever imagine, except in the most idle, obviously wish-fulfillment, ego-gratification fantasies, that anything I wrote would ever win awards, let alone so many.

There is the cult of the actor and of the director, and there's even been the cult of the celebrity chef and gardener, but there has never been a cult of the screenwriter. But I'm happy about that because what I crave - in a completely venal way - is creative opportunities, not recognition.

I always grew up with the idea that in order to be a successful writer, I should have a book published.

Being shortlisted for the Swansea University International Dylan Thomas Prize is, of course, a real honour for me and my work. When I wrote 'Conversations with Friends,' it was hard for me to imagine the book even finding readers - so it's a huge privilege to find it judged alongside such exciting and innovative new writing. I'm very grateful.

Literature is one of those realms in which giving out prizes can seem not merely dubious but positively obtuse.

Writing is like shouting into the world. So when someone shouts back, it's a really big deal. To have people who read hundreds and hundreds of books a year say, 'Hey, we thought this was really great,' that's a huge self-esteem boost.

You get early inoculation against the idea of success if you're a poet. When I published my first collection of sonnets, I sold about five copies; now kids study them for A level. Wanting to be successful in that other world of money or fame is not interesting. Poetry isn't like that, and it never has been.

Only another writer, someone who had worked his heart out on a good book which sold three thousand copies, could appreciate the thrill that overcame me one April morning in 1973 when Dean Rivers of our small college in Georgia appeared at my classroom door

I hate to tell you this, but I did not know what the National Book Award was when I got the call.

As far as fame, the everlasting fame thing. I used to think that was important for a writer... the desire to make your mark.

If I were a writer, the Pulitzer Prize would be important to me. This is my profession, so an Oscar is important.

I just wrote the book and was amazed and astounded that it became a bestseller and won the Pulitzer Prize. It still hasn't sunk in.

Winning the second Pulitzer firmly places me in conversation with this culture.

Growing up in Waterloo, the Governor General's Award wasn't something I even thought to wish for.

I'd like to walk into a room sometime and be introduced as the author of something other than that play. There's always one thing in a career that has more impact than anything else. In my case, 'The Subject Was Roses' was that thing.

Winning the Whitbread was a very major thing for me. I'd always been well reviewed, but this made me widely read.

'Fallen Too Far' was my first NYT bestseller. That changed my life.