Patrick White Quotes

The essence of what you have to say you pick up before you're twenty.

Life doesn't end on the kitchen floor while there is the will to dance.

Why can't a writer use writing as a painter uses paint? I try to. When I wrote The Tree of Man I felt I couldn't write about simple, illiterate people in a perfectly literate way; but in my present novel the language is more sophisticated. I think perhaps I have clarified my style quite a lot over the years. I find it a great help to hear the language going on around me; not that what I write, the narrative, is idiomatic Australian, but the whole work has a balance and rhythm which is influenced by what is going on around you. When you first write the narrative it might be unconscious, but when you come to work it over you do it more consciously. It gives what I am writing a greater feeling of reality.

كل أمرِ عذب ولين من السهل أن يُجرح

When the nurse had closed the door the princess felt imprisoned, not only in the room, but in her own body. In her state of foreboding she reached out for the glass of barley water Sister Badgery had removed, and tried to find comfort in sips of that mawkish stuff. She could see herself in one of the looking-glasses with which her blind mother still kept herself surrounded. If the princess had not been so terrified of what the next moment could hold, she might have noticed that her own eyes were deep and lustrous: beautiful in fact; but in the circumstances her mind could only flutter through imagined eventualities. Actually Mrs Hunter was enjoying the luxury of being alone and perfectly silent with somebody she loved. (They did love each other, didn’t they? You could never be sure about other people; sometimes you found they had hated you all their lives.) This state of perfect stillness was not unlike what she enjoyed in her relationship with Sister de Santis, though in essence it was different; with the night nurse she was frequently united in a worship of something too vast and selfless to describe even if your mind had been completely compos whatever it is. This other state of unity in perfect stillness, which she hoped she was beginning to enjoy with Dorothy, she had experienced finally with Alfred when she returned to ‘Kudjeri’ to nurse him in his last illness. There were moments when their minds were folded into each other without any trace of the cross-hatching of wilfulness or desire to possess.

In the 14th Century an anonymous English mystic wrote a book called The Cloud of Unknowing, the main theme of which is that God cannot be apprehended by man's intellect and that only love can pierce the "cloud of unknowing" which lies between Him and us. I feel that in my own life anything I have done of possible worth has happened in spite of my gross, worldly self. I have been no more than the vessel used to convey ideas above my intellectual capacities. When people praise passages I have written, more often than not I can genuinely say, 'Did I write that?' I don't think this is due to my having a bad memory, because I have almost total recall of trivialities. I see it as evidence of the part the supernatural plays in lives which would otherwise remain earthbound.

I expect we are all jealous of the women in their past, but how much less exciting if the women had not kept the bed warm.

If I have not lost my mind I can sometimes hear it preparing to defect

I am interested in detail. I enjoy decoration. By accumulating this mass of detail you throw light on things in a longer sense: in the long run it all adds up. It creates a texture — how shall I put it — a background, a period, which makes everything you write that much more convincing. Of course, all artists are terrible egoists. Unconsciously you are largely writing about yourself. I could never write anything factual; I only have confidence in myself when I am another character. All the characters in my books are myself, but they are a kind of disguise.

I don't think I am ghoulish in saying that I would like them, and every morally responsible citizen of the world, particularly my fellow Australians of the World War II period, to refresh their memories by referring regularly to the photographic record of the Hiroshima-Nagasaki happening — the rags of human flesh, the suppurating sores, the despair of families blown apart, the disturbed minds, the bleak black gritty plains where the homes of human beings like you and I once stood. Most of all, I would like every Australian couple born since Hiroshima and Nagasaki were blasted out of existence to consult these photographic records and for ever after do all in their power to prevent the children they are creating from suffering a fate similar to that thrust upon the children of those two Japanese cities. Let us rouse ourselves and realise this is what we shall have to face.

Because he had nothing to hide, he did perhaps appear to have forfeited a little of his strength. But that is the irony of honesty.

I always like to write three versions of a book. The first is always agony and chaos; no one could understand it. With the second you get the shape, it's more or less all right. I write both of those in longhand. The third draft I type out with two fingers: it's for refining of meaning, additions and subtractions. I think my novels usually begin with characters; you have them floating about in your head and it may be years before they get together in a situation. Characters interest me more than situations.

The princess fell against the bed, groping through the scents of Dettol and baby powder, to embrace, deeper than her mother, her own childhood.

Life is full of alternatives but no choice.

Two people do not lose themselves at the identical moment, or else they might find each other, and be saved. It is not as simple as that.