Wallace Stegner

“Marian’s eyes absolutely blaze. To meet them is to have a shock of contact as if they were electrically charged. “Now you see? You wondered what was in whale’s milk. Don’t you know now? The same thing that’s in a mushroom spore so small you need a microscope to see it, or in gophers, or poison oak, or anything else we try to pave under or grub out, or poison. There isn’t good life and bad life, there’s only life. Think of the force down there, just telling things to get born!”

“[The modern age] knows nothing about isolation and nothing about silence. In our quietest and loneliest hour the automatic ice-maker in the refrigerator will cluck and drop an ice cube, the automatic dishwasher will sigh through its changes, a plane will drone over, the nearest freeway will vibrate the air. Red and white lights will pass in the sky, lights will shine along highways and glance off windows. There is always a radio that can be turned to some all-night station, or a television set to turn artificial moonlight into the flickering images of the late show. We can put on a turntable whatever consolation we most respond to, Mozart or Copland or the Grateful Dead.”

“I may not know who I am, but I know where I am from.”

“I can't see that Danish episode as an adventure, or a crisis survived, or a serious quest for anything definable. It was just another happening like today's luncheon, something I got into and got out of. And it reminds me too much of how little life changes: how, without dramatic events or high resolves, without tragedy, without even pathos, a reasonably endowed, reasonably well-intentioned man can walk through the world's great kitchen from end to end and arrive at the back door hungry.”

“Towns are like people. Old ones often have character, the new ones are interchangeable.”

“What ever happened to the passion we all had to improve ourselves, live up to our potential, leave a mark on the world? Our hottest arguments were always about how we could contribute. We did not care about the rewards. We were young and earnest.”

“What do you mean, 'Angle of Repose?' she asked me when I dreamed we were talking about Grandmother's life, and I said it was the angle at which a man or woman finally lies down. I suppose it is; and yet ... I thought when I began, and still think, that there was another angle in all those years when she was growing old and older and very old, and Grandfather was matching her year for year, a separate line that did not intersect with hers. They were vertical people, they lived by pride, and it is only by the ocular illusion of perspective that they can be said to have met. But he had not been dead two months when she lay down and died too, and that may indicate that at that absolute vanishing point they did intersect. They had intersected for years, for more than he especially would ever admit.”

“You can't retire to weakness -- you've got to learn to control strength.”

“[I]t is dangerous for a bride to be apologetic about her husband.”

“The flimsy little protestations that mark the front gate of every novel, the solemn statements that any resemblance to real persons living or dead is entirely coincidental, are fraudulent every time. A writer has no other material to make his people from than the people of his experience ... The only thing the writer can do is to recombine parts, suppress some characterisitics and emphasize others, put two or three people into one fictional character, and pray the real-life prototypes won't sue.”

“There must be some other possibility than death or lifelong penance ... some meeting, some intersection of lines; and some cowardly, hopeful geometer in my brain tells me it is the angle at which two lines prop each other up, the leaning-together from the vertical which produces the false arch. For lack of a keystone, the false arch may be as much as one can expect in this life. Only the very lucky discover the keystone.”

“A poet is somebody who has written a poem.”

“Home is a notion that only nations of the homeless fully appreciate and only the uprooted comprehend.”

“A poem isn't selfish. It speaks to people.”

“I have always said that the way to deal with the pain of other’s is by sympathy, which is suffering with, and that the way to deal with one’s own pain is to put one foot after the other. Yet I was never willing to suffer with others, and when my own pain hit me, I crawled into hole. Sympathy I have failed in, stoicism I have barely passed. But I have made straight A’s in irony- that curse, that evasion, that armor, that way of staying safe while seeming wise. One thing I have learned hard, if indeed I have learned it now: it is a reduction of our humanity to hide from pain, our own or other’s. to hide from anything. That was Marian’s text. Be open, be available, be exposed, be skinless. Skinless? Dance around in your bones.”

“What interests me in all these papers is not Susan Burling Ward, the novelist and illustrator, and not Oliver Ward the engineer, and not the West they spend their lives in. What really interests me is how two such unlike particles clung together, and under what strains, rolling downhill into their future until they reached the angle of repose where I knew them. That's where the interest is. That's where the meaning will be if I find any.”

“Hope was always out ahead of fact, possibility obscured the outlines of reality.”

“Isn’t it complicated to be human, though?” she said. “Animals seem to give up their lives so naturally…And after all, I grew up, I married John, I had Debby. So knowing, being able to understand and forecast and even predict an approximate date, shouldn’t make any difference. I guess consciousness makes individuals of us, and as individuals we lose the old acceptance…” “The one thing,” Marian said in a voice that went suddenly small and tight, “the thing I can hardly bear sometimes is that I won’t ever see her grow up. She’ll have to do it without whatever I could have given her.” “Time, too, time and everything that one could do in it, and the chance of wasting or losing or never even realizing it. It’s so important to us because we see it so close. We’re individuals, we’re full of ourselves, and so we’re bad historians. We get crazy and anxious because all of sudden there’s so little time left to be loving and generous as we wish we’d always been and always intended to be…do you suppose I feel the shortness of time because I want to experience everything and feel everything that the race has ever felt? Because there’s so much to feel and I’m greedy?”

“By his very profession, a serious fiction writer is a vendor of the sensuous particulars of life, a perceiver and handler of things. His most valuable tools are his sense and his memory; what happens in his mind is primarily pictures.”

“I would like to hear your life as you heard it, coming at you, instead of hearing it as I do, a sober sound of expectations reduced, desires blunted, hopes deferred or abandoned, chances lost, defeats accepted, griefs borne. I don't find your life uninteresting, as Rodman does. I would like to hear it as it sounded while it was passing. Having no future of my own, why shouldn't I look forward to yours.”