Eudora Welty

Out of love you can speak with straight fury.

Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them. I suppose it__ an early form of participation in what goes on. Listening children know stories are there. When their elders sit and begin, children are just waiting and hoping for one to come out, like a mouse from its hole.

Children like animals use all their senses to discover the world. Then artists come along and discover it the same way all over again.

It had been startling and disappointing to me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass. Yet regardless of where they come from, I cannot remember a time when I was not in love with them -- with the books themselves, cover and binding and the paper they were printed on, with their smell and their weight and with their possession in my arms, captured and carried off to myself. Still illiterate, I was ready for them, committed to all the reading I could give them ...

Henry James said there isn't any difference between "the English novel" and "the American novel" since there are only two kinds of novels at all, the good and the bad.

When they turned off, it was still early in the pink and green fields. The fumes of morning, sweet and bitter, sprang up where they walked. The insects ticked softly, their strength in reserve; butterflies chopped the air, going to the east, and the birds flew carelessly and sang by fits.They went down again and soon the smell of the river spread over the woods, cool and secret. Every step they took among the great walls of vines and among the passion-flowers started up a little life, a little flight.'We__e walking along in the changing-time,' said Doc. 'Any day now the change will come. It__ going to turn from hot to cold, and we can kill the hog that__ ripe and have fresh meat to eat. Come one of these nights and we can wander down here and tree a nice possum. Old Jack Frost will be pinching things up. Old Mr. Winter will be standing in the door. Hickory tree there will be yellow. Sweet-gum red, hickory yellow, dogwood red, sycamore yellow.' He went along rapping the tree trunks with his knuckle. 'Magnolia and live-oak never die. Remember that. Persimmons will all get fit to eat, and the nuts will be dropping like rain all through the woods here. And run, little quail, run, for we__l be after you too.'They went on and suddenly the woods opened upon light, and they had reached the river. Everyone stopped, but Doc talked on ahead as though nothing had happened. 'Only today,' he said, 'today, in October sun, it__ all gold__ky and tree and water. Everything just before it changes looks to be made of gold.'("The Wide Net")

I learned from the age of two or three, that any room in our house, at any time of day, was there to read in, or to be read to. It had been startling and disappointing for me to find out that story books had been written by people, that books were not natural wonders, coming up of themselves like grass.

Our Victrola stood in the diningroom. I was allowed to climb onto the seat of a diningroom chair to wind it, start the record turning, and set the needle playing. In a second I'd jumped to the floor, to spin or march around the room as the music called for - now there were all the other records I could play too. I skinned back onto the chair just in time to lift the needle at the end, stop the record and turn it over, then change the needle. Winding up, dancing, being cocked to start and stop the record, was of course, all in one the act of listening. Movement must be at the very heart of listening.

The characters who go to make up my stories and novels are not portraits. Characters I invent along with the story that carries them. Attached to them are what I've borrowed, perhaps unconsciously, bit by bit, of persons I have seen or noticed or remembered in the flesh - a cast of countenance here, a manner of walking there, that jumps to the visualizing mind when a story is under way. I don't write by invasion into the life of a real person: my own sense of privacy is too strong for that; and I also know instinctively that living people to whom you are close - those known to you in ways too deep, too overflowing, ever to be plumbed outside love - do not yield to, could never fit into, the demands of a story. Characters take on life sometimes by luck, but I suspect it is when you can write most entirely out of yourself, that a character becomes in its own right another human being on the page.

People are mostly layers of violence and tenderness wrapped like bulbs, and it is difficult to say what makes them onions or hyacinths.

I am a writer who came from a sheltered life. A sheltered life can be a daring life as well. For all serious daring starts from within.

No art ever came out of not risking your neck.

It was examinations (in school) that drove my wits away, as all emergencies do. Being expected to measure up was paralysing. It was never that Mother wanted me to beat my classmates in grades, what she wanted was for me to have my answers right. It was unclouded perfection I was up against.

When my mother would tell me that she wanted me to have something because she as a child had never had it, I wanted, or I partly wanted, to give it back. All my life I continued to feel that bliss for me would have to imply my mother's deprivation or sacrifice. I don't think it would have occurred to her what a double emotion I felt. I could hardly bear my pleasure for the guilt. There is no wonder that a passion for independence sprang up in me at the earliest age. It took me a long time to manage the independence, (but) I have never managed to handle the guilt. In the act and the course of writing stories, these are the two springs, one bright, one dark, that feed the stream.

It took the mountain top, it seems to me now, to give me the sensation of independence. It was as if I'd discovered something I'd never tasted before in my short life. Or rediscovered it - for I associated it with the taste of water that came out of the well, accompanied with the ring of that long metal sleeve against the sides of the living mountain, as from deep down it was wound up to view brimming and streaming long drops behind it like bright stars on a ribbon. It thrilled me to drink from the common dipper. The coldness, the far, unseen, unheard springs of what was in my mouth now, the iron smell, all said mountain mountain mountain as I swallowed. Every swallow was making me a part of being here, sealing me in place, with my bare feet planted on the mountain and sprinkled with my rapturous spills. What I felt I'd come here to do was something on my own.

People give pain, are callous and insensitive, empty and cruel...but place heals the hurt, soothes the outrage, fills the terrible vacuum that these human beings make.

My temperament and my instinct had told me alike that the author, who writes at his own emergency, remains and needs to remain at his private remove. I wished to be, not effaced, but invisible - actually a profound position. Perspective, the line of vision, the frame of vision - these set a distance.

It is not for nothing that an ominous feeling often attaches itself to a procession. In films and stories we see spectacles forming in the street and parades coming from around the corner, and we know to greet then with distrust and apprehension: their intent is still to be revealed.