Richard Flanagan Quotes
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Writing about sex at length is a bit like describing mastication at length. It's the causes and the consequences and the meaning of it that are interesting, not the anatomical descriptions.
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The journey is long, the road is dark and frightening, but together we can reach our destination: the Tasmania of which we all dream, where all are welcome and all prosper, made no longer of lies but truth, built not of rich men's hate but our love for our island and for each other.
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We live in a material world, not a dramatic one.
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A writer has to stand outside the page. It's not for the writer to shed tears onto the pages for these characters. It's not for him to suffer or to laugh or to experience ecstasy or agony in the manner of the characters on the pages.
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It's a sin for a writer to go looking for camels to put into his or her pages. I only want details that are the story.
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You have to attempt to find new forms that will force you to write freshly and better and hopefully more truthfully.
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We have a very foolish notion in Western countries that progress delivers freedom. But progress doesn't necessarily bring moral virtue.
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The path to survival was to never give up on the small things.
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Writing reminds you that you're never alone. Writing and reading is to be optimistic.
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I'm afraid a lot of people have lost a lot of money over the years betting on me.
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I had some bad jobs when I was young. Writing is not one of them. If you're fortunate enough to reach my age, to still be writing, you have to be grateful, and I am. I've been lucky. For many years, all I've done is writing, and it's all I've ever wanted to do.
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A happy man has no past, while an unhappy man has nothing else.
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What you're constantly seeking isn't a style, but a transparency between your soul and the words. And your soul is ever in flux, so therefore you have to constantly find new forms of words that might be able to register these changes in the soul.
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I think sometimes writers must attempt to communicate the incommunicable, because, whether they wish it or not, they're the ones to whom it falls.
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I think empathy's a terrible danger for a writer.
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I do not share the pessimism of the age about the novel. They are one of our greatest spiritual, aesthetic and intellectual inventions. As a species it is story that distinguishes us, and one of the supreme expressions of story is the novel. Novels are not content. Nor are they are a mirror to life or an explanation of life or a guide to life. Novels are life, or they are nothing.
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The idea of the past is as useless as the idea of the future. Both could be invoked by anybody about anything. There is never any more beauty than there is now. There is no more joy or wonder or sorrow than there is now, nor perfection, nor any more evil nor any more good than there is now.
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Murder and hate are as deeply buried in the human heart as love, perhaps more so, and in truth they're rather entwined, and if you tried to separate them, you'd be missing something important and human.
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I think it's always wrong of writers to make too much of the pains of their labors, because most people have much worse jobs and suffer such indignities and hardships.
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Writing is not lying, nor is it theft. It is a journey and search for transparency between one’s words and one’s soul.
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In the end you're not made or broken by prizes. Your relationship is with your readers, not a prize, and you just have to keep on honoring that.
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When forging money, I had always salved my conscience by concluding that I was merely extending the lie of commerce.
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Love is the scent of a sleeping back, death a slight draft of bad breath.
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Is it easier for a man to live his life again as a fish, than to accept the wonder of being human? So alone, so frightened, so wanting for what we are afraid to give tongue to.
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I think writing should be about change.
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The enslavement, humiliation, torture, and ultimate destruction of thousands upon thousands of human beings for a project for which there was ultimately no purpose is a horror that's very hard to imagine, far less understand.
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The fallacy is that you have to hold some sort of stake in the grief or horror in order to write about it - I think the opposite is true.
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I think it's common sense to shy away from the erotic. Perhaps this grand experiment, which started with Lady Chatterley's Lover, of seeing what you can write and how you can write about sex, has reached a certain weary terminus with Fifty Shades of Grey.
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What reality was ever made by realists?
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Film is the art of turning money into light, and light into money. But it begins with money.
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