Patricia Hampl Quotes

Silence was the first prayer I learned to trust.

It is hard to sever the cords that tie us to our slavery and leave intact those that bind us to ourselves.

The materials of true poetry are always humble, absolutely idiosyncratic, the autobiographical tatters that, in gifted hands, are made into the memoir that fits us all.

Refuse to write your life and you have no life.

What is remembered is what becomes reality.

If nobody talks about books, if they are not discussed or somehow contended with, literature ceases to be a conversation, ceases to be dynamic. Most of all, it ceases to be intimate. It degenerates into a monologue or a mutter. An unreviewed book is a struck bell that gives no resonance. Without reviews, literature would be oddly mute in spite of all those words on all those pages of all those books. Reviewing makes of reading a participant sport, not a spectator sport.

Memoir is trustworthy and its truth assured when it seeks the relation of self to time, the piecing of the shards of personal experience into the starscape of history's night. The materials of memoir are humble, fugitive, a cottage knitting industry seeking narrative truth across the crevasse of time as autobiography folds itself into the vast, fluid essay that is history. A single voice singing its aria in a corner of the crowded world.

Silence, that inspired dealer, takes the day's deck, the life, all in a crazy heap, lays it out, and plays its flawless hand of solitaire, every card in place. Scoops them up, and does it all over again.

People come and go in life, but they never leave your dreams. Once they're in your subconscious, they are immortal.

The cold was our pride, the snow was our beauty. It fell and fell, lacing day and night together in a milky haze, making everything quieter as it fell, so that winter seemed to partake of religion in a way no other season did, hushed, solemn.

The world is full of mystery but it must not be choked with secrets: we must talk to one another.

Maybe being oneself is always an acquired taste.

The artist's work, it is sometimes said, is to celebrate. But really that is not so; it is to express wonder. And something terrible resides at the heart of wonder. Celebration is social, amenable. Wonder has a chaotic splendor.

Poverty didn't necessarily engender an envy of wealth; sometimes it might beget a passion for decency.

You can’t put much on paper before you betray your secret self, try as you will to keep things civil.

I come from people who have always been polite enough to feel that nothing has ever happened to them.

Here, in memory, we live and die.

A careful first draft is a failed first draft

Prayer as focus is not a way of limiting what can be seen; it is a habit of attention brought to bear on all that is.

landscape, that vast still life, invites description, not narration. It is lyric. It has no story: it is the beloved, and asks only to be contemplated.

In memory each of us is an artist: each of us creates.

No memoirists writes for long without experiencing an unsettling disbelief about the reliability of memory, a hunch that memory is not, after all, just memory.

A peculiarity of the American historical sensibility allows us to be proud of great-grandfathers (or even grandfathers) who lived in crushing poverty, while the poverty of a father is too close for comfort.

In description we hear and feel the absorption of the author in the material. We sense the presence of the creator of the scene. .. This personal absorption is what we mean by 'style.' It is strange that we would choose so oddly surfacey a word - style - for this most soulful aspect of writing. We could, perhaps more exactly, call this relation between consciousness and its subject 'integrity.' What else is the articulation of perception?

The paradox: there can be no pilgrimage without a destination, but the destination is also not the real point of the endeavor. Not the destination, but the willingness to wander in pursuit characterizes pilgrimage. Willingness: to hear the tales along the way, to make the casual choices of travel, to acquiesce even to boredom. That's pilgrimage -- a mind full of journey.

We only store in memory images of value. To write about one's life is to live it twice, and the second time is both spiritual and historical.

Fundamentally, [prayer] is a position, a placement of oneself.

We store in memory only images of value. The value may be lost over the passage of time, but that's the implacable judgment of feeling.

Looking repeatedly into the past, you do not necessarily become fascinated with your own life, but rather with the phenomenon of memory.

I could tell you stories-if only stories could tell what I have in me to tell.

Our capacity to move forward as developing beings rests on a healthy relationship with the past. Psychotherapy, that widespread method for promoting mental health, relies heavily on memory and on the ability to retrieve and organize images and events from the personal pastIf we learn not only to tell our stories but to listen to what our stories tell us—to write the first draft and then return for the second draft—we are doing the work of memory.

The future is here, now, and the past is full of actual deeds, real history. Utopias hardly have the meat on their bones to sustain a people in grave times.

poetry is the sung voice of accurate perception.

Memory is, first, a captivating mystery.

Pondering was the highest vocation... Pondering was a special kind of thinking. It was not done in the mind, that chilly place, but in the heart, where the real mystery of intelligence - intuition - rather than thought lay catlike and feminine, ready to pounce.

It's always a thrilling risk to say exactly what you mean, to express exactly what you see.

The golden light of metaphor, which is the intelligence of poetry, was implicit in alchemical study. To change, magically, one substance into another, more valuable one is the ancient function of metaphor, as it was of alchemy.

Maybe being oneself is an acquired taste. For a writer it's a big deal to bow--or kneel or get knocked down--to the fact that you are going to write your own books and not somebody else's. Not even those books of the somebody else you thought it was your express business to spruce yourself up to be.

Planes are my foxhole. I'm always on my knees in them.

The real subject of autobiography is not one's experience but one's consciousness. Memoirists use the self as a tool.

I don't write about what I know: I write in order to find out what I know.

True memoir is written, like all literature, in an attempt to find not only a self but a world

Writing is so hard. And then, sometimes, it is so bewilderingly easy.

These days it seems the lyric impulse, so seemingly fragile, comes in for a lot of abuse-or simply a lot of mistrust. What's it for, anyway, in this hard-edged, worried world? Into this cultural uncertainty Gregory Orr's spirited meditation on the surprisingly tensile strength of poetry in the face of profound suffering and grief presents a welcome fresh view of the ancient human instinct to cry out and to praise.

Writing was the soul of everything else ... Wanting to be a writer was wanting to be a person.

Time, we like to say, cures all. But maybe the old saying doesn’t mean time heals. Time cures a secret in its brine, keeping it and finally, paradoxically, destroying it. Nothing is left in that salt solution but the pain or rage, the biting shame that lodged it there. Even they are diluted or denied.

Memoirists wish to tell their mind, not their story.

We do not, after all, simply have experience; we are entrusted with it. We must do something--make something--with it. A story, we sense is the only possible habitation for the burden of our witnessing.