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I don't have a plan for a story when I sit down to write. I would get quite bored carrying it out.
Michael Ondaatje
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Michael Ondaatje
Age: 81
Born: 1943
Born: September 12
Author
Novelist
Pedagogue
Poet
Screenwriter
University Teacher
Writer
Ondaatje
Would
Bored
Plan
Plans
Quite
Story
Write
Stories
Writing
Carrying
More quotes by Michael Ondaatje
Sadness is very close to hate.
Michael Ondaatje
So we came to understand that small and important thing, that our lives could be large with interesting strangers who would pass us without any personal involvement.
Michael Ondaatje
Politically I also don't believe anymore that we can only have one voice to a story, it's like having one radio station to represent a country. You want the politics of any complicated situation to be complicated in a book of fiction or nonfiction.
Michael Ondaatje
Politically I don't believe anymore that we can only have one voice to a story, it's like having one radio station to represent a country.
Michael Ondaatje
We keep wanting to save those who are forlorn in this world. It’s a male habit.
Michael Ondaatje
I see the poem or the novel ending with an open door.
Michael Ondaatje
I tend not to know what the plot is or the story is or even the theme. Those things come later, for me.
Michael Ondaatje
Tell me, is it possible to love someone who is not as smart as you are? ...But isn't it important for you to think she is smarter than you in order to fall in love? ...Why is that? Because we want to know things, how the pieces fit. Talkers seduce, words direct us into corners. We want more than anything to grow and change. Brave new world.
Michael Ondaatje
Don't we forgive everything of a lover? We forgive selfishness, desire, guile. As long as we are the motive for it...There are some European words you can never translate properly into another language.
Michael Ondaatje
Once I've discovered the story, I might restructure it, maybe move things around, set up a clue that something is going to happen later, but that happens much later in an editorial capacity.
Michael Ondaatje
So the books for the Englishman, as he listened intently or not, had gaps of plot like sections of a road washed out by storms, missing incidents as if locusts had consumed a section of tapestry, as if plaster loosened by the bombing had fallen away from a mural at night.
Michael Ondaatje
This last night we tear into each other, as if to wound, as if to find the key to everything before morning.
Michael Ondaatje
The music of Gavin Bryars falls under no category. It is mongrel, full of sensuality and wit and is deeply moving. He is one of the few composers who can put slapstick and primal emotion alongside each other. He allows you to witness new wonders in the sounds around you by approaching them from a completely new angle. With a third ear maybe.
Michael Ondaatje
He knows that the only way he can accept losing her is if he can continue to hold her or be held by her. If they can somehow nurse each other out of this. Not with a wall.
Michael Ondaatje
What he would say, he cannot say to this woman whose openness is like a wound, whose youth is not mortal yet. He cannot alter what he loves most in her, her lack of compromise, where the romance of the poems she loves still sits with ease in the real world. Outside these qualities he knows there is no order in the world.
Michael Ondaatje
I want to die on your chest but not yet she wrote sometime in the 13th century of our love
Michael Ondaatje
He walked out of the hospital into the sun, into open air for the first time in months, out of the green-lit rooms that lay like glass in his mind. He stood there breathing everything in, the hurry of everyone. First, he thought, I need shoes with rubber on the bottom. I need gelato.
Michael Ondaatje
Fathers die.You keep on loving them in any way you can.You can't hide him away in your heart.
Michael Ondaatje
She had always wanted words, she loved them grew up on them. Words gave her clarity, brought reason, shape.
Michael Ondaatje
I've always loved history and history is collage, it is a juxtaposition of the good and the bad and the strange, and how you place those sentences together changes the whole mood of a history.
Michael Ondaatje
