William Faulkner Quotes

How do our lives ravel out
into the no-wind, no-sound,
the weary gestures wearily recapitulant:
echoes of old compulsions with no-hand on no-string:
in sunset we fall into furious attitudes,
dead gestures of dolls.

Sometimes I aint so sho who's got ere a right to say when a man is crazy and when he aint. Sometimes I think it aint none of us pure crazy and aint none of us pure sane until the balance of us talks him that-a-way. It's like it aint so much what a fellow does, but it's the way the majority of folks is looking at him when he does it.

You intend to kiss me and yet you are going to all this damn trouble about it.

Caddy smelled like trees.

The artist doesn't have time to listen to the critics. The ones who want to be writers read the reviews, the ones who want to write don't have the time to read reviews.

Love doesn't die; the men and women do.

He just thought quietly, 'So this is love. I see, I was wrong about it too', thinking as he had thought before and would think again and as every other man has thought: how false the most profound book turns out to be when applied to life. [...] 'Perhaps they were right in putting love into books,' he thought quietly. 'Perhaps it could not live anywhere else.

Dear God, let me be damned a little longer, a little while.

We have to start teaching ourselves not to be afraid.

a fellow is more afraid of the trouble he might have than he ever is of the trouble he's already got. He'll cling to trouble he's used to before he'll risk a change. Yes. A man will talk about how he'd like to escape from living folks. But it's the dead folks that do him the damage. It's the dead ones that lay quiet in one place and dont try to hold him, that he cant escape from.

You should approach Joyce's Ulysses as the illiterate Baptist preacher approaches the Old Testament: with faith.

Memory believes before knowing remembers. Believes longer than recollects, longer than knowing even wonders. Knows remembers believes a corridor in a big long garbled cold echoing building of dark red brick sootbleakened by more chimneys than its own, set in a grassless cinderstrewnpacked compound surrounded by smoking factory purlieus and enclosed by ten food steel-and-wire fence like a penitentiary or a zoo, where in random erratic surges, with sparrowlike childtrebling, orphans in identical and uniform blue denim in and out of remembering but in knowing constant in the bleak walls, the bleak windows where in rain soot from the yearly adjacenting chimneys streaked like black tears.

Between grief and nothing, I will take grief.

Everything in Los Angeles is too large, too loud and usually banal in concept… The plastic asshole of the world.

Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.