Eudora Welty

The journey took about a week each way, and each day had my parents both in its grip. Riding behind my father, I could see that the road had him by the shoulders, by the hair under his driving cap. It took my mother to make him stop. I inherited his nervous energy in the way I can't stop writing on a story. It makes me understand how Ohio had him around the heart, as West Virginia had my mother. Writers and travelers are mesmerized alike by knowing of their destinations. And all the time that we think we're getting there so fast, how slowly we do move.

We do need to bring to our writing, over and over again, all the abundance we possess. To be able, to be ready, to enter into the minds and hearts of our own people, all of them, to comprehend them (us) and then to make characters and plots in stories that in honesty and with honesty reveal them (ourselves) to us, in whatever situation we live through in our own times: this is the continuing job, and it's no harder now than it ever was, I suppose. Every writer, like everybody else, thinks he's living through the crisis of the ages. To write honestly and with all our powers is the least we can do, and the most

But he wanted to leap up, to say to her, I have been sick and I found out then, only then, how lonely I am. Is it too late? My heart puts up a struggle inside me, and you may have heard it, protesting against emptiness...It should be full, he would rush on to tell her, thinking of his heart now as a deep lake, it should be holding love like other hearts. It should be flooded with love. There would be a warm spring day...Come and stand in my heart, whoever you are, and a whole river would cover your feet and rise higher and take your knees in whirlpools, and draw you down to itself, your whole body, your heart too.("Death of a Traveling Salesman")

It was late afternoon. This time tomorrow he would be somewhere on a good graveled road, driving his car past things that happened to people, quicker than their happening.("Death of a Traveling Salesman")

On Sundays, Presbyterians were not allowed to eat hot food or read the funny papers or travel the shortest journey; parents believed in Hell and believed tiny babies could go there. Baptists were not supposed to know, up until their dying day, how to play cards or dance. And so on.

I'm prepared now to use the wonderful word confluence, which of itself exists as a reality and a symbol in one. It is the only kind of symbol that for me as a writer had any weight, testifying to the pattern, one of the chief patterns, of human experience. Of course the greatest confluence of all is that which makes up the human memory - the individual human memory. My own is the treasure most dearly regarded by me, in my life and in my work as a writer. Here time, also, is subject to confluence. The memory is a living thing - it too is in transit. But during its moment, all that is remembered joins, and lives - the old and the young, the past and the present, the living and the dead.

A good snapshot keeps a moment from running away.

My father knew our way mile by mile; by day or by night, he knew where we were. Everything that changed under our eyes, in the flying countryside, was the known world to him, the imagination to me. Each in our own way, we hungered for all this: my father and I were in no other respect or situation so congenial.

A whole tree of lightning stood in the sky. She kept looking out the window, suffused with the warmth from the fire and with the pity and beauty and power of her death. The thunder rolled.

Memory lived not in initial possession but in the freed hands, pardoned and freed, and in the heart that can empty but fill again, in the patterns restored by dreams.

It was my first-year Latin teacher in high school who made me who made me discover I'd fallen in love with it (grammar). It took Latin to thrust me into bona fide alliance with words in their true meaning. Learning Latin fed my love for words upon words in continuation and modification, and the beautiful, sober, accretion of a sentence. I could see the achieved sentence finally standing there, as real, intact, and built to stay as the Mississippi State Capitol at the top of my street.

The camera was a hand-held auxiliary of wanting-to-know. It had more than information and accuracy to teach me. I learned in the doing how ready I had to be. Life doesn't hold still. A good snapshot stopped a moment from running away. Photography taught me that to be able to capture transience, by being ready to click the shutter at the crucial moment, was the greatest need I had. Making pictures of people in all sorts of situations, I learned that every feeling waits upon its gesture, and I had to be prepared to recognize this moment when I saw it. These were things a writer needed to know. And I felt the need to hold transient life in words - there's so much more of life that only words can convey - strongly enough to last me as long as I lived. The direction my mind took was a writer's direction from the start, not a photographer's or a recorder's.

The fantasies of dying could be no stranger than the fantasies of living. Survival is perhaps the strangest fantasy of them all.

Human life is fiction's only theme.

Writing a story or a novel is one way of discovering sequence in experience, of stumbling upon cause and effect in the happenings of a writer's own life. This has been the case with me. Connections slowly emerge. Like distant landmarks you are approaching, cause and effect begin to align themselves, draw closer together. Experiences too indefinite of outline in themselves to be recognized for themselves connect and are identified as a larger shape. And suddenly a light is thrown back, as when your train makes a curve, showing that there has been a mountain of meaning rising behind you on the way you've come, is rising there still, proven now through retrospect. Writing fiction has developed in me an abiding respect for the unknown in a human lifetime and a sense of where to look for the threads, how to follow, how to connect, find in the thick of the tangle what clear line persists. The strands are all there: to the memory nothing is ever lost.

My father did not bring it up, but of course I knew that he had another reason to worry about my decision to write. Though he was a reader, he was not a lover of fiction, because fiction is not true, and for that flaw it was forever inferior to fact. If reading fiction was a waste of time, so was the writing of it. Why is it, I wonder, that humor didn't count? Wodehouse, for one, whom both of us loved, was a flawless fiction writer.

Great fiction shows us not how to conduct our behavior but how to feel. Eventually, it may show us how to face our feelings and face our actions and to have new inklings about what they mean. A good novel of any year can initiate us into our own new experience.

Fiction shows us the past as well as the present moment in mortal light; it is an art served by the indelibility of our memory, and one empowered by a sharp and prophetic awareness of what is ephemeral. It is by the ephemeral that our feeling is so strongly aroused for what endures, or strives to endure.