In the greatest fiction, the writer's moral sense coincides with his dramatic sense, and I see no way for it to do this unless his moral judgement is part of the very act of seeing, and he is free to use it. I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe. It is not a set of rules which fixes what he sees in the world. It affects his writing primarily by guaranteeing his respect for mystery.

The writer operates at a peculiar crossroads where time and place and eternity somehow meet. His problem is to find that location.

Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay.

In most good stories, it is the character's personality that creates the action of the story. If you start with real personality, a real character, then something is bound to happen.

Anything that comes out of the South is going to be called grotesque by the northern reader, unless it is grotesque, in which case it is going to be called realistic.

[Simone Weil's] life is almost a perfect blend of the Comic and the Terrible, which two things may be opposite sides of the same coin. In my own experience, everything funny I have written is more terrible than it is funny, or only funny because it is terrible, or only terrible because it is funny.

The high-school English teacher will be fulfilling his responsibility if he furnishes the student a guided opportunity, through the best writing of the past, to come, in time, to an understanding of the best writing of the present. He will teach literature, not social studies or little lessons in democracy or the customs of many lands. And if the student finds that this is not to his taste? Well, that is regrettable. Most regrettable. His taste should not be consulted; it is being formed.