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What some people interpret as brooding melancholy is serenity. I don't feel required to grasp all the time.

David Guterson

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David Guterson
Age: 68
Born: 1956
Born: May 4
Journalist
Novelist
Screenwriter
Writer
Seattle
Washington
Feels
Interpret
Time
Serenity
People
Grasp
Melancholy
Required
Quiet
Literature
Feel
Brooding

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The status quo was rote memorization and recitation in classrooms thronged with passive children who were sternly disciplined when they expressed individual needs.
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I have relaxed into my persona as an author, although I used to fight that.
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Everybody has a world, and that world is completely hidden until we begin to inquire. As soon as we do, that entire world opens to us and yields itself. And you see how full and complex it is.
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How could they say that they truly loved each other? They had simply grown up together, been children together, and the proximity of it, the closeness of it, had produced in them love s illusion. And yet - on the other hand - what was love if it wasn't this instinct she felt.
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There are things in this universe that we cannot control, and then there are the things we can. . . . Let fate, coincidence, and accident conspire human beings must act on reason.
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Cities produce in me melancholy or a tension I don't need.
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You should learn to say nothing that will cause you regret. You should not say what is not in your heart - or what is only in your heart for a moment. But you know this - silence is better.
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Fiction is socially meaningful.
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I think of myself as a really happy person.
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None of those other things makes a difference. Love is the strongest thing in the world, you know. Nothing can touch it. Nothing comes close. If we love each other we're safe from it all. Love is the biggest thing there is.
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accident ruled every corner of the universe except the chambers of the human heart.
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I grew up in Seattle, but I always knew I wanted to leave.
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At one level you're condemned to the voice you have. But within those confines, you have a certain amount of freedom to range among your possible voices.
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When it comes time to sit down and write the next book, you're deathly afraid that you're not up to the task. That was certainly the case with me after Snow Falling on Cedars.
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When I went to college I took a creative writing class and decided in a week to be a writer.
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The best advice on writing I've ever received is to take it seriously, because to do it well is all-consuming.
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I'm not an urban person.
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To deny that there was this dark side of life would be like pretending that the cold of winter was somehow only a temporary illusion, a way station on the way to the higher reality of long, warm, pleasant summers. But summer, it turned out, was no more real than the snow that melted in wintertime.
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I write because something inner and unconscious forces me to. That is the first compulsion. The second is one of ethical and moral duty. I feel responsible to tell stories that inspire readers to consider more deeply who they are.
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Time made me change. I gradually woke up to the realization that this is who I am, an author, a public figure, and I couldn't just hide in my study, tapping away at the keyboard and pretend that I didn't have a role to play beyond stringing words together.
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