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I think it's always wrong of writers to make too much of the pains of their labors, because most people have much worse jobs and suffer such indignities and hardships.

Richard Flanagan

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Richard Flanagan
Age: 63
Born: 1961
Born: January 1
Film Director
Journalist
Novelist
Screenwriter
Writer
Longford
Tasmania
Australia
Richard Miller Flanagan
Think
Labor
Indignity
Thinking
Suffering
Labors
People
Wrong
Hardships
Pain
Pains
Jobs
Hardship
Much
Suffer
Make
Worse
Always
Writers
Indignities

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Love is a glimpse of hope. To love is to hope. When we abandon hope, we cease to exist.
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Love is the scent of a sleeping back, death a slight draft of bad breath.
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I do feel like a fraud a lot of the time because I've never been interested in people who say 'I'm a writer', 'I'm an artist'. Too much is made of the role and not enough of the work. We are such a celebrity-driven age and a status-driven age, that the status becomes more important than the actual work.
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I think empathy's a terrible danger for a writer.
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I had some bad jobs when I was young. Writing is not one of them. If you're fortunate enough to reach my age, to still be writing, you have to be grateful, and I am. I've been lucky. For many years, all I've done is writing, and it's all I've ever wanted to do.
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The idea of the past is as useless as the idea of the future. Both could be invoked by anybody about anything. There is never any more beauty than there is now. There is no more joy or wonder or sorrow than there is now, nor perfection, nor any more evil nor any more good than there is now.
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The journey is long, the road is dark and frightening, but together we can reach our destination: the Tasmania of which we all dream, where all are welcome and all prosper, made no longer of lies but truth, built not of rich men's hate but our love for our island and for each other.
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What you're constantly seeking isn't a style, but a transparency between your soul and the words. And your soul is ever in flux, so therefore you have to constantly find new forms of words that might be able to register these changes in the soul.
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I think sometimes writers must attempt to communicate the incommunicable, because, whether they wish it or not, they're the ones to whom it falls.
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The monsters demand less of you as a writer because they're probably closer to who you are.
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There are words and words and none mean anything. And then one sentence means everything.
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Is it easier for a man to live his life again as a fish, than to accept the wonder of being human? So alone, so frightened, so wanting for what we are afraid to give tongue to.
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A happy man has no past, while an unhappy man has nothing else.
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A writer has to stand outside the page. It's not for the writer to shed tears onto the pages for these characters. It's not for him to suffer or to laugh or to experience ecstasy or agony in the manner of the characters on the pages.
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You have to attempt to find new forms that will force you to write freshly and better and hopefully more truthfully.
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It's a sin for a writer to go looking for camels to put into his or her pages. I only want details that are the story.
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The path to survival was to never give up on the small things.
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What reality was ever made by realists?
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I think it's common sense to shy away from the erotic. Perhaps this grand experiment, which started with Lady Chatterley's Lover, of seeing what you can write and how you can write about sex, has reached a certain weary terminus with Fifty Shades of Grey.
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We remember nothing. Maybe for a year or two. Maybe most of a life, if we live. Maybe. But then we will die, and who will ever understand any of this? And maybe we remember nothing most of all when we put our hands on our hearts and carry on about not forgetting.
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