I think the satirist is always basically optimistic. The satirist's complaint about society is always that it doesn't measure up to a fairly high ideal he has. I think that even the bitterest satirist, even a man like Swift, was probably rather an optimist at heart.

The only excuse for a novelist, aside from the entertainment and vicarious living his books give the people who read them, is as a sort of second-class historian of the age he lives in. The "reality" he missed by writing about imaginary people, he gains by being able to build a reality more nearly out of his own factual experience than a plain historian or biographer can.

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Humanity has a strange fondness for following processions. Get four men following a banner down the street, and, if that banner is inscribed with rhymes of pleasant optimism, in an hour, all the town will be afoot, ready to march to whatever tune the leaders care to play.

For something like forty years I've been getting various sorts of narratives off my chest without being able to hit upon a classification for them. There's something dreary to me about the publisher's arbitrary division of every word written for publication into fiction and nonfiction. My writing has a most irritating way of being difficult to classify in either category. At times I would find it hard to tell you whether the stuff is prose or verse. Gradually I've come up with the tag: contemporary chronicle.

The mind of a generation is its speech. A writer makes aspects of that speech enduring by putting them in print. He whittles at the words and phrases of today and makes of them forms to set the mind of tomorrow's generation. That's history. A writer who writes straight is the architect of history.