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Harm can come about without will or action. But will and action can avert harm.
A. S. Byatt
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A. S. Byatt
Age: 88
Born: 1936
Born: August 24
Literary Critic
Novelist
Poet
University Teacher
Writer
Sheffield
England
Dame Antonia Susan Duffy
Antonia Susan Drabble
Antonia Susan Duffy
Avert
Harm
Action
Come
Without
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It is good for a man to invite his ghosts into his warm interior, out of the wild night, into the firelight, out of the howling dark.
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History, writing, infect after a time a man's sense of himself.
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Where would we be without inhibitions? Theyre quite useful things when you look at some of the things humans do if they lose them.
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Outside our small safe place flies mystery.
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Biographies are no longer written to explain or explore the greatness of the great. They redress balances, explore secret weaknesses, demolish legends.
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Only write to me, write to me, I love to see the hop and skip and sudden starts of your ink.
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Independent women must expect more of themselves, since neither men nor other more conventionally domesticated women will hope for anything, or expect any result other than utter failure.
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The reading eye must do the work to make them live, and so it did, again and again, never the same life twice, as the artist had intended.
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I think vestigially there's a synesthete in me but not like a real one who immediately knows what colour Wednesday is.
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I was no good at being a child.
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There is a certain aesthetic pleasure in trying to imagine the unimaginable and failing, if you are a reader.
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No mere human can stand in a fire and not be consumed.
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I am a creature of my pen. My pen is the best of me.
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Things are not what they seem.
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I'd like to write the way Matisse paints.
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It's a terrible poison, writing.
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Funny way to spend your life, though, studying another chap's versifying.
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I don't only write about English literature I also write about chaos theory and... ants. I can understand ants.
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What I need to write well is a combination of heat, light and solitude.
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There are many ways of writing badly about painting... There is an 'appreciative' language of threadbare, not inaccurate, but overexposed and irritating words... the language of the schools which 'situates' works and artists in schools and movements... novelists and poets [that] see paintings as allegories of writing.
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