Michael Cunningham Quotes

It is not night when I do see your face, Therefore I think I am not in the night; Nor doth this wood lack worlds of company, For you in my respect are all the world: Then how can it be said I am alone, When all the world is here to look on me?

"Cammie!" I'll never forget the tone of Macey's voice in that moment. "Cam," she said slowly, moving toward me, "I know how it feels to be watched every second of every day. I know what it's like to trust fewer and fewer people until it seems like you are completely alone in the world. I know you think the only things that are left in your life are the bad things. I know what you're feeling, Cam." Her hands were on my shoulders. Her blue eyes were staring into mine. "I know."

I can see others in the sunlight; I can see our boats' crews and our athletic young men on the glistening water, or speckled with the moving lights of sunlit leaves; but I myself am always in the shadow looking on. Not unsympathetically, - God forbid! - but looking on alone, much as I looked at Sylvia from the shadows of the ruined house, or looked at the red gleam shining through the farmer's windows, and listened to the fall of dancing feet, when all the ruin was dark that night in the quadrangle.

Right now, though, I wanted not to think forward or backward, but only to lose myself in the words.

In a car you're always in a compartment, and because you're used to it you don't realize that through that car window everything you see is just more TV. You're a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You're completely in contact with it all. You're in the scene, not just watching it anymore, and the sense of presence is overwhelming.

I can't help moving my face - reacting - when I watch a movie, because I'm really inhabiting a character. I know this is weird, but it demonstrates what I love about cinema: it allows you to live a different life, to have a different experience, to disappear for two hours. I think it's wonderful.

Do you know, André, I sometimes think that you have no heart.' 'Presumably because I sometimes betray intelligence.

You're like a witness. You're the one who goes to the museum and looks at the paintings. I mean the paintings are there and you're in the museum too, near and far away at the same time. I'm a painting. Rocamadour is a painting. Etienne is a painting, this room is a painting. You think that you're in the room but you're not. You're looking at the room, you're not in the room.

[When working on a book] I have an almost complete detachment from the world I live in, a sort of armor against distraction. I talk to people, move about, appear on the surface much as usual. But later on I have only a confused memory of what has happened during that period.

Normally I didn’t see a great deal. I didn’t hear a great deal either. I didn’t pay attention. Strictly speaking I wasn’t there. Strictly speaking I believe I’ve never been anywhere.

I'm a grenade, I just want to stay away from people and read books, and think.

Others would say to me, 'It is only temporary, it will pass, you will get over it,' but of course they had no idea how I felt, although they were certain that they did. Over and over and over I would say to myself, If I can't feel, if I can't move, if I can't think, and I can't care, then what conceivable point is there in living?

Her face ... was a one-of-a-kind, a surprising variation on a familiar theme - a variation that made observers think, Yes - that would be another very nice way for people to look. What Beatrice had done with her face, actually, was what any plain girl could do. She overlaid it with dignity, suffering, intelligence, and a piquant dash of bitchiness.

You don't have to say you love me, just be close at hand. You don't have to stay for ever, I will understand.

I was reading Emily Dickinson and Edwin Arlington Robinson, but these weren't the poets that influenced me. I think Gwendolyn Brooks influenced me because she wrote about Chicago, and she wrote about poor people. And she influenced me in my life by giving me a blurb. I would see her in action, and she listened to every single person. She didn't say, "Oh, I'm tired. I gotta go." She was there, and present, with every single person. She's one of the great teachers.

People think Paris [Hilton] is a ditzy blond, and I don't want to blow it for her, but she plays it really well. She knows exactly what she's doing. She's actually a pretty smart person. She's very cognizant of what she's doing, and she kind of plays that role, so people think she's some airhead but she's really not.

Observe, and in that observation there is neither the "observer" nor the "observed" - there is only observation taking place.

As a writer one doesn’t belong anywhere. Fiction writers, I think, are even more outside the pale, necessarily on the edge of society. Because society and people are our meat, one really doesn’t belong in the midst of society. The great challenge in writing is always to find the universal in the local, the parochial. And to do that, one needs distance.

When people come at me they can't win, they think they can, but they can't. I'll just walk away.

At some point in my life I'd honestly hoped love would rescue me from the cold, drafty castle I lived in. But at another point, much earlier I think, I'd quietly begun to hope for nothing at all in the way of love, so as not to be disappointed. It works. It gets to be a habit.

Well, after all, this is the age of the disposable tissue. Blow your nose on a person, wad them, flush them away, reach for another, blow, wad, flush. Everyone using everyone else's coattails. How are you supposed to root for the home team when you don't even have a program or know the names? For that matter, what color jersey's are they reading as they trot out to the feild?

You must not become a mere peddler of words. The thing to learn is to know what people are thinking about, not what they say.

Canada is so far away it hardly exists.

She sat keenly white and still among them, a witness to everything--maybe determining nothing, possibly judging it all.