John Crowley Quotes

Almost as soon as it was lit it began to sound as though it were running down, but in fact it would continue to run down for a long time. He knew the feeling.
John Crowley
The better you tell an old story, the more you are talking about right now.
John Crowley
I could be listening to Painted Red weave the stories of the saints in her rich roomy voice, and beginning to see how all those stories were in some way one story: a simple story about being alive, and being a man; a story that, simple as it was, couldn't itself be told.
John Crowley
She had always lived her best life in dreams. She knew no greater pleasure than that moment of passage into the other place, when her limbs grew warm and heavy and the sparkling darkness behind her lids became ordered and doors opened; when conscious thought grew owl's wings and talons and became other than conscious.
John Crowley
Do you write every day?' 'Oh, no. Oh, I sort of try. I don't work very hard, really. Really I'm on vacation. All the time. Or you could say I work all the time, too. It comes to the same thing.' He'd said all this before, to others; he wondered if he'd said it to her. 'It's like weekend homework. Remember? There wasn't ever a time you absolutely had to do it - there was always Saturday, then Sunday - but then there wasn't ever a time when it wasn't there to do, too.''How awful.' ("Novelty")
John Crowley
It must take a lot of self-discipline,' she said.'Oh, I don't know. I don't have much.' He felt himself about to say again, and unable to resist saying, that 'Dumas, I think it was Dumas, some terrifically prolific Frenchman, said that writing novels is a simple matter - if you write one page a day, you'll write one novel a year, two pages a day, two novels a year, three pages, three novels, and so on. And how long does it take to cover a page with writing? Twenty minutes? An hour? So you see. Very easy really.''I don't know,' she said, laughing. 'I can't even bring myself to write a letter.''Oh, now that's hard.'("Novelty")
John Crowley
Why, what is it, how can flesh and blood come up with such stuff, how can flesh feel it. My lord life is strange. How is that Meaning comes to be? How? How does life cast it up, shape it, exude it; how does Meaning come to have physical, tangible effects, to be felt with a shock, to cause grief or longing, come to be sought for like food; pure Meaning having nothing to do with the clothes of persons or events in which it is dressed and yet not ever divorceable from some set of such clothes?
John Crowley
Time, I think, is like walking backward away from something: say, from a kiss. First there is the kiss; then you step back, and the eyes fill up your vision, then the eyes are framed in the face as you step further away; the face then is part of a body, and then the body is framed in a doorway, then the doorway framed in the trees beside it. The path grows longer and the door smaller, the trees fill up your sight and the door is lost, then the path is lost in the woods and the woods lost in the hills. Yet somewhere in the center still is the kiss. That's what time is like.
John Crowley
Violet said nothing, though big pearly tears, like a child's, trembled at her lashes. She suddenly missed John very much. Into him she could pour all the inarticulate perceptions, all the knowings and unknowings she felt, which, though he couldn't understand them really, he would receive reverently, and out of him would come then the advice, the warnings, the clever decisions she could never have made.
John Crowley
Better to light one candle than to curse the darkness.
John Crowley
Oh God how subtle he would have to be, how cunning... No paragraph, no phrase even of the thousands the book must contain could strike a discordant note, be less than fully imagined, an entire novel's worth of thought would have to be expended on each one. His attention had only to lapse for a moment, between preposition and object, colophon and chapter heading, for dead spots to appear like gangrene that would rot the whole. Silkworms didn't work as finely or as patiently as he must, and yet boldness was all, the large stroke, the end contained in and prophesied by the beginning, the stains of his clouds infinitely various but all signifying sunrise. Unity in diversity, all that guff. An enormous weariness flew over him. The trouble with drink, he had long known, wasn't that it started up these large things but that it belittled the awful difficulties of their execution. ("Novelty")
John Crowley
Should he make a note? He felt for the smooth shape of his pen in his pocket. 'Theme for a novel: The contrary pull ... " No. If this notion were real, he needn't make a note. A notion on which a note had to be made would be stillborn anyway, his notebook was a parish register of such, born and dead on the same page. Let it live if it can. ("Novelty")
John Crowley
There was after all no mystery in the end of love, no mystery but the mystery of love itself, which was large certainly but as real as grass, as natural and unaccountable as bloom and branch and their growth.
John Crowley
The door of the bar opened, showing him a momentary oblong of true daylight, blankly white. A woman entered. He couldn't see her face as she crossed to the bar in front of the window, but he could see, drawn with exactitude by the light behind her, her legs within a summery white dress. When young he had supposed, without giving it much thought, that women didn't realize that sun behind them revealed them in this way; now he supposes that of course they must, and thinks about it. ("Novelty")
John Crowley
Divorced?''Separated.'He tested his thumb against the pricks of the rose. 'Women. They say you got all the freedom. Then you give them their freedom, and they don't want it.' ("Novelty")
John Crowley
Seen from inside the bar, the avenue, the stores opposite, the street glimpsed going off at right angles, the trapezoid of sky visible above the lower buildings, are altered by the tinted windows into an elsewhere, oddly peaceful, a desert or the interior of the sea. Sometimes when he has fallen asleep face upward in the sun, his dreams have taken on this quality of supernatural bright darkness. ("Novelty")
John Crowley
Learning to decipher words had only added to the pleasures of holding spines and turning pages, measuring the journey to the end with a thumb-riffle, poring over frontispieces. Books! Opening with a crackle of old glue, releasing perfume; closing with a solid thump.
John Crowley
God, he thought, her eyes are so bright, flashing, deep, full of promise, all those things eyes are in books but never are in life, and she was his.
John Crowley
If you know how to read, the World of Books is open to you, after all; and if you like to read, you'll read. If you don't, you'll forget whatever anybody makes you read, anyway.
John Crowley
Novelty. Security. Novelty wouldn't be a bad title. It had the grandness of abstraction, alerting the reader that large and thoughtful things were to be bodied forth. As yet he had no inkling of any incidents or characters that might occupy his theme; perhaps he never would. He could see though the book itself, he could feel its closed heft and see it opened, white pages comfortably large and shadowed gray by print; dense, numbered, full of meat. He sensed a narrative voice, speaking calmly and precisely, with immense assurance building, building; a voice too far off for him to hear, but speaking. ("Novelty")
John Crowley
Novelty and Security: the security of novelty, the novelty of security. Always the full thing, the whole subject, the true subject, stood just behind the one you found yourself contemplating. The trick, but it wasn't a trick, was to take up at once the thing you saw and the reason you saw it as well; to always bite off more than you could chew, and then chew it. If it were self-indulgence for him to cut and polish his semiprecious memories, and yet seem like danger, like a struggle he was unfit for, then self-indulgence was a potent force, he must examine it, he must reckon with it.
John Crowley
The first inkling of this notion had come to him the Christmas before, at his daughter's place in Vermont. On Christmas Eve, as indifferent evening took hold in the blue squares of the windows, he sat alone in the crepuscular kitchen, imbued with a profound sense of the identity of winter and twilight, of twilight and time, of time and memory, of his childhood and that church which on this night waited to celebrate the second greatest of its feasts. For a moment or an hour as he sat, become one with the blue of the snow and the silence, a congruity of star, cradle, winter, sacrament, self, it was as though he listened to a voice that had long been trying to catch his attention, to tell him, Yes, this was the subject long withheld from him, which he now knew, and must eventually act on.He had managed, though, to avoid it. He only brought it out now to please his editor, at the same time aware that it wasn't what she had in mind at all. But he couldn't do better; he had really only the one subject, if subject was the word for it, this idea of a notion or a holy thing growing clear in the stream of time, being made manifest in unexpected ways to an assortment of people: the revelation itself wasn't important, it could be anything, almost. Beyond that he had only one interest, the seasons, which he could describe endlessly and with all the passion of a country-bred boy grown old in the city. He was beginning to doubt (he said) whether these were sufficient to make any more novels out of, though he knew that writers of genius had made great ones out of less. He supposed really (he didn't say) that he wasn't a novelist at all, but a failed poet, like a failed priest, one who had perceived that in fact he had no vocation, had renounced his vows, and yet had found nothing at all else in the world worth doing when measured by the calling he didn't have, and went on through life fatally attracted to whatever of the sacerdotal he could find or invent in whatever occupation he fell into, plumbing or psychiatry or tending bar. ("Novelty")
John Crowley
When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned.
John Crowley
Stories last longer: but only by becoming only stories.
John Crowley