It is equally vain,” she thought, “for you to think you can protect me, or for me to think I can worship you. The light of truth beats upon us without shadow, and the light of truth is damnably unbecoming to us both.
a novelist's chief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the same faces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living - so that nothing may disturb or disquiet the mysterious nosings about, feelings around, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination.
Without those forerunners, Jane Austen and the Brontes and George Eliot could no more have written than Shakespeare could have written without Marlowe, or Marlowe without Chaucer, or Chaucer without those forgotten poets who paved the ways and tamed the natural savagery of the tongue. For masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice.
Neither of us knows what the public will think. There's no doubt in my mind that I have found out how to begin (at forty) to say something in my own voice; and that interests me so that I feel I can go ahead without praise.
For pain words are lacking. There should be cries, cracks, fissures, whiteness passing over chintz covers, interference with the sense of time, of space ; the sense also of extreme fixity in passing objects ; and sounds very remote and then very close ; flesh being gashed and blood sparting, a joint suddenly twisted - beneath all of which appears something very important, yet remote, to be just held in solitude.” — Virginia Woolf, The Waves
Why does one write these books after all? The drudgery, the misery, the grind, are forgotten everytime; and one launches another, and it seems sheer joy and buoyancy.
What is this terror? what is this ecstasy? he thought to himself. What is it that fills me with this extraordinary excitement? It is Clarissa, he said. For there she was.
Words, English words, are full of echoes, of memories, of associations. They have been out and about, on people's lips, in their houses, in the streets, in the fields, for so many centuries. And that is one of the chief difficulties in writing them today -- that they are stored with other meanings, with other memories, and they have contracted so many famous marriages in the past.
What is a woman? I assure you, I do not know ... I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill.
A strange thing has happened - while all the other arts were born naked, this, the youngest, has been born fully-clothed. It can say everything before it has anything to say. It is as if the savage tribe, instead of finding two bars of iron to play with, had found scattering the seashore fiddles, flutes, saxophones, trumpets, grand pianos by Erhard and Bechstein, and had begun with incredible energy, but without knowing a note of music, to hammer and thump upon them all at the same time.
Praise and blame alike mean nothing. No, delightful as the pastime of measuring may be, it is the most futile of all occupations, and to submit to the decrees of the measurers the most servile of attitudes.
Doesn't one always think of the past, in a garden with men and women lying under the trees? Aren't they one's past, all that remains of it, those men and women, those ghosts lying under the trees ... one's happiness, one's reality?