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Nadine Gordimer Quotes
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Writing is making sense of life. You work your whole life and perhaps you've made sense of one small area.
Nadine Gordimer
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The truth isn't always beauty, but the hunger for it is.
Nadine Gordimer
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It's impossible to conquer all fear and loss by preparation. There are always sources of desolation that aren't taken into account because no one knows what they will be.
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Literary scholars end up being some kind of storyteller, too.
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The function of a writer is to make sense of life. It is such a mystery, it changes all the time, like the light.
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The forces of being remain. They are what the writer, as distinct from the contemporary popular mythmaker, still engage today, as myth in its ancient form attempted to do.
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I opened the telegram and said, "He's dead —" and as I looked up into Graham Mill's gaze I saw that he knew who, before I could say.
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Censorship is never over for those who have experienced it. It is a brand on the imagination that affects the individual who has suffered it, forever.
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I was evidence of the theory that books are made out of other books... But I did not remain so for long, nor do I believe any potential writer could.
Nadine Gordimer
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If I dreamt this, while walking, walking in the London streets, the subconscious of each and every other life, past and present, brushing me in passing, what makes it real? Writing it down.
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Both Borges and Sartre, from their totally different extremes of denying literature a social purpose, were certainly perfectly aware that it has its implicit and unalterable social role in exploring the state of being, from which all other roles, personal among friends, public at the protest demonstration, derive. Borges was not writing for his friends, for he published and we all have received the bounty of his work. Sartre did not stop writing, although he stood at the barricades in 1968.
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The country of the tourist pamphlet always is another country, an embarrassing abstraction of the desirable that, thank God, does not exist on this planet, where there are always ants and bad smells and empty Coca-Cola bottles to keep the grubby finger-print of reality upon the beautiful.
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What a writer does is to try to make sense of life. I think that's what writing is, I think that's what painting is. It's seeking that thread of order and logic in the disorder, and the incredible waste and marvelous profligate character of life. What all artists are trying to do is to make sense of life.
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Most imprisoned writers have been shut away for their activities as citizens striving for liberation against the oppression of the general society to which they belong. Others have been condemned by repressive regimes for serving society by writing as well as they can; for this aesthetic venture of ours becomes subversive when the shameful secrets of our times are explored deeply, with the artist's rebellious integrity to the state of being manifest in life around her or him; then the writer's themes and characters inevitably are formed by the pressures and distortions of that society as the life of the fisherman is determined by the power of the sea.
Nadine Gordimer
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She felt the natural ties of affinity rather than the conventional blind ties of the blood.
Nadine Gordimer
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The present was his; he would arrange the past to suit it.
Nadine Gordimer
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Among the group of people waiting at the fortress was a schoolgirl in a brown and yellow uniform holding a green eiderdown quilt and, by the loop at its neck, a red hot-water bottle.
Nadine Gordimer
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Power is something of which I am convinced there is no innocence this side of the womb.
Nadine Gordimer
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If people would forget about utopia! When rationalism destroyed heaven and decided to set it up here on earth, that most terrible of all goals entered human ambition. It was clear there'd be no end to what people would be made to suffer for it.
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The gap between the committed and the indifferent is a Sahara whose faint trails, followed by the mind's eye only, fade out in sand.
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You have to become involved with life, not only in personal relationships but for social causes. But at the same time, you have to stand apart to pursue your writing, to struggle with words to define the whole question of being and existence. They were being tortured and there I was, shutting myself away to write.
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When the six-year-old daughter of a friend of mine overheard her father telling someone that I had been awarded the Nobel Prize, she asked whether I had ever received it before. He replied that the Prize was something you could get only once. Whereupon the small girl thought a moment: 'Oh' she said, 'so it's like chicken-pox.'
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Like the prisoners incarcerated with the jaguar in Borges' story, 'The God's Script', who was trying to read, in a ray of light which fell only once a day, the meaning of being from the marking on the creature's pelt, we spend our lives attempting to interpret through the word the readings we take in the societies, the world of which we are part. It is in this sense, this inextricable, ineffable participation, that writing is always and at once an exploration of self and of the world; of individual and collective being.
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It was a miracle; it was all a miracle: and one ought to have known, from the sufferings of saints, that miracles are horror.
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I have said that nothing factual that I write or say will be as truthful as my fiction. The life, the opinions, are not the work, for it is in the tension between standing apart and being involved that the imagination transforms both. Let me give some minimal account of myself. I am what I suppose would be called a natural writer. I did not make any decision to become one. I did not, at the beginning, expect to earn a living by being read. I wrote as a child out of the joy of apprehending life through my senses — the look and scent and feel of things; and soon out of the emotions that puzzled me or raged within me and which took form, found some enlightenment, solace and delight, shaped in the written word.
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Fat overflowed not only from her jowl to her neck, but from her ankles to her shoes. She looked like a pudding that had risen too high and run down the sides of the dish.
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I saw this thing turn, like a flower, once picked, turning petals into bright knives in your hand. And it was so much desired, so lovely, that your fingers will not loosen, and you have only disbelief that this, of all you have ever known, should have the possibility of pain. All the time you are seeing the blood trickling a red answer slowly down your hand.
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Perhaps there is no other way of reaching some understanding of being than through art? Writers themselves don't analyze what they do; to analyze would be to look down while crossing a canyon on a tightrope.
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We must live fully in order to secrete the substance of our work, but we have to work alone.
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What we had to do to find the world was to enter our own world fully, first. We had to enter through the tragedy of our own particular place. If the Nobel awards have a special meaning, it is that they carry this concept further. In their global eclecticism they recognize that no single society, no country or continent can presume to create a truly human culture for the world. To be among laureates, past and present, is at least to belong to some sort of one world.
Nadine Gordimer
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Quote of the day
The most painful moral struggles are not those between good and evil, but between the good and the lesser good.
Barbara Grizzuti Harrison
Nadine Gordimer
Creative Commons
Born:
November 20, 1923
Died:
July 13, 2014
(aged 90)
Bio:
Nadine Gordimer was a South African writer, political activist and recipient of the 1991 Nobel Prize in Literature.
Known for:
July's People (1981)
Burger's Daughter (1979)
Le conservateur (1974)
The Pickup (2001)
My Son's Story (1990)
Most used words:
life
writer
writing
word
time
sense
people
work
imagination
society
write
lives
truth
myth
reality
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