Quote

Part of me really wants to believe that hope is entirely available to all of us. We don't have to embrace it. It would be sentimental and silly to say that we all need it, but it is absolutely available to all of us.

Colum McCann

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Colum McCann
Age: 59
Born: 1965
Born: February 28
Academic
Journalist
Novelist
Screenwriter
Writer
Dublin city
Really
Embrace
Would
Absolutely
Wants
Hope
Part
Sentimental
Need
Entirely
Needs
Silly
Believe
Available

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Pain is not wat you get, it is wat you give.
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One small cloud, cast out by the herd, limps away to the west.
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Yet she likes complications. She wishes she could turn and say: I like people who unbalance me.
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There is always room for at least two truths.
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The world does not turn without moments of grace. Who cares how small.
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Literature can remind us that not all life is already written down: there are still so many stories to be told.
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The repeated lies become history, but they don't necessarily become the truth.
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I'm of the opinion that the real is imagined and the imagined is quite real. The real is imagined, in the sense that we shape our stories, so anything that even happens on the news gets shaped in a certain way and gets a texture, and that the imagined can be real.
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I gave them all the truth and none of the honesty.
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The person we know at first, she thinks, is not the one we know at last.
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Cynicism is easy. An optimist is a braver cynic.
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Increasingly I think of myself as some strange and solitary conductor, introduced to a group of very dynamic musicians who happen to be my characters, and I have no idea how they are going to play together, and I have certainly no idea how I am going to put manners on them.
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I write articles, and I do profiles of members of organizations and associations.
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Memory has a heavy backspin, yet it’s still impossible to land exactly where we took off.
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We have to listen to other people's stories. That's the thing. And that's the only way that we eventually get to know ourselves.
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I don't really know what an adverb is. A dangling participle? That sounds really rude. I don't know what character is, really. Plot seems vaguely juvenile to me. It's all about language, it's all about how you apply it to the page.
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She takes another long haul, lets the smoke settle in her lungs-- she has heard somewhere that cigarettes are good for grief. One long drag and you forget how to cry. The body too busy dealing with the poison.
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He didn't like it all that much when he first came - all the rubbish and the rush - but it was growing on him, it wasn't half bad. Coming to the city was like entering a tunnel, he said, and finding to your surprise that the light at the end didn't matter sometimes in fact the tunnel made the light tolerable.
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It is not fashionable anymore, I suppose, to have a regard for one's mother in the way my brother and I had then, in the mid-1950s, when the noise outside the window was mostly wind and sea chime.
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The job of the writer is to look at where he is now and make some sort of emotional sense of it, not only for that moment but for years to come.
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