William Faulkner

“And he was not old enough to talk and say nothing at the same time.”

“Sometimes I ain’t sho who’s got ere a right to say when a man is crazy and when he ain't. Sometimes I think it ain't none of us pure crazy and ain't none of us pure sane until the balance of us talks him that-a-way. It’s like it ain't so much what a fellow does, but it’s the way the majority of folks is looking at him when he does it. […] That’s how I reckon a man is crazy. That’s how he can’t see eye to eye with other folks. And I reckon they ain't nothing else to do with him but what the most folks says is right.”

“And no one could have known if he had ever looked at her either as, without any semblance of progress in either of them, they draw slowly together as the wagon crawls terrifically toward her in its slow palpable aura of somnolence and red dust in which the steady feet of the mules move dreamlike and punctuate by the sparse jingle of harness and the limber bobbing of jackrabbit ears, the mules still neither asleep nor awake as he halts them.”

“Though the mules plod in a steady and unflagging hypnosis, the vehicle does not seem to progress. It seems to hang suspended in the middle distance forever and forever, so infinitesimal is its progress, like a shabby bead upon the mild red string of road. So much so is this that in the watching of it the eye loses it as sight and sense drowsily merge and blend, like the road itself, with all the peaceful and monotonous changes between darkness and day, like already measured thread being rewound onto a spool. So that at last, as though out of some trivial and unimportant region beyond even distance, the sound of it seems to come slow and terrific and without meaning, as though it were a ghost traveling a half mile ahead of its own shape.”

“The train could be stopped with a red flag, but by ordinary it appeared out of the devastated hills with apparitionlike suddenness and wailing like a banshee, athward and past that little less-than-village like a forgotten bead from a broken string.”

“Here's a wagon that's going a piece of the way. It will take you that far; backrolling now behind her a long monotonous succession of peaceful and undeviating changes from day to dark and dark to day again, through which she advanced in identical and anonymous and deliberate wagons as though through a succession of creakwheeled and limpeared avatars, like something moving forever and without progress across an urn.”

“Gratitude is a quality similar to electricity; it must be produced and discharged and used up in order to exist at all.”

“But you cant be alive forever, and you always wear out life long before you have exhausted the possibilities of living. And all that must be somewhere; all that could not have been invented and created just to be thrown away. And the earth is shallow; there is not a great deal of it before you come to the rock. And the earth dont want to just keep things, hoard them; it wants to use them again.”

“Anna Karenina, Anna Karenina, Anna Karenina" when asked the three best novels of all time.”

“Writing is one-third imagination, one-third experience, and one third observation.”

“They say love dies between two people. That’s wrong. It doesn’t die. It just leaves you, goes away, if you aren’t good enough, worthy enough. It doesn’t die; you’re the the one that dies. It’s like the ocean: if you’re no good, if you begin to make a bad smell in it, it just spews you up somewhere to die. You die anyway, but I had rather drown in the ocean than be urped up onto a strip of dead beach and be dried away by the sun into a little foul smear with no name to it, just this was for an epitaph”

“A gull on an invisible wire attached through space dragged. You carry the symbol of your frustration into eternity. Then the wings are bigger Father said only who can play a harp.”

“Sólo el campo de batalla revela al hombre su propia locura y desesperación y la victoria es ilusión de filósofos e idiotas.”

“It is just dawn, daylight: that gray and lonely suspension filled with the peaceful and tentative waking of birds. The air, inbreathed, is like spring water. He breathes deep and slow, feeling with each breath himself diffuse in the natural grayness, becoming one with loneliness and quiet that has never known fury or despair. "That was all I wanted," he thinks, in a quiet and slow amazement. "That was all, for thirty years. That didn't seem to be a whole lot to ask in thirty years.”

“A man. All men. He will pass up a hundred chances to do good for one chance to meddle where meddling is not wanted. He will overlook and fail to see chances, opportunities, for riches and fame and welldoing, and even sometimes for evil. But he won't fail to see a chance to meddle.”

“Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.”

“When grown people speak of the innocence of children, they don’t really know what they mean.”

“I notice how it takes a lazy man, a man that hates moving, to get set on moving once he does get started off, the same as when he was set on staying still, like it aint the moving he hates so much as the starting and the stopping. And like he would be kind of proud of whatever come up to make the moving or the setting still look hard. He set there on the wagon hunched up, blinking, listening to us tell about how quick the bridge went and how high the water was, and I be durn if he didn't act like he was proud of it, like he had made the river rise himself.”

“One of the saddest things is that the only thing a man can do for eight hours a day, day after day, is work. You can't eat eight hours a day nor drink for eight hours a day nor make love for eight hours—all you can do for eight hours is work. Which is the reason why man makes himself and everybody else so miserable and unhappy.”

“On the instant when we come to realize that tragedy is second-hand.”

“I can stand on my own feet; I don't need any man's mahogany desk to prop me up”

“When they get done sending you to Parchman you'll have plenty of time between working cotton and corn you aint going to get no third and fourth of even, to study it." They looked at one another."Yes sir," George said. 'Especially wid you there to help me worry hit out.”

“Because you know that's all I needs, all I wants, is for you to try to run, to turn your back on me and run. I know you aint going to. Because all you got to beat is me. I got to beat old Carothers. Get your pistol.""No," the other said. "Go home. Get out of here. Tonight I will come to your house-----""After this?" Lucas said. "Me and you, in the same country, breathing the same air even? No matter what you could say, what you could even prove so I would have to believe it, after this? Get your pistol.”

“(...) next year she would have another birthday, and if she just remembered to get into bed left foot first and to turn the pillow over before she went to sleep, who knows what might happen?”

“I tell you, they were not men after spoils and glory; they were boys riding the sheer tremendous tidal wave of desperate living. Boys. Because this. This is beautiful. Listen. Try to see it. Here is that fine shape of eternal youth and virginal desire which makes heroes. That makes the doings of heroes border so close upon the unbelievable that it is no wonder that their doings must emerge now and then like gunflashes in the smoke, and that their very physical passing becomes rumor with a thousand faces before breath is out of them, lest paradoxical truth outrage itself.”

“Oh,” he said. “I see.” But he did not see, exactly, though he believed that he could have been wrong and that she was right. And so a year later she talked to him suddenly of marriage and escape in the same words, he was not surprised, not hurt. He just thought quietly, ‘So this is love. I see. I was wrong about it too’, thinking as he had thought before and would think again and as every other man has thought: how false the most profound book turns out to be when applied to life.”

“What he was now seeing was the street lonely, savage, and cool. That was it: cool; he was thinking, saying aloud to himself sometimes, “I better move. I better get away from here.”But something held him, as the fatalist can always be held: by curiosity, pessimism, by sheer inertia.”

“Good art can come out of thieves, bootleggers, or horse swipes. People really are afraid to find out just how much hardship and poverty they can stand. They are afraid to find out how tough they are. Nothing can destroy the good writer. The only thing that can alter the good writer is death. Good ones don't have time to bother with success or getting rich. Success is feminine and like a woman; if you cringe before her, she will override you. So the way to treat her is to show her the back of your hand. Then maybe she will do the crawling.”

“Poate că au avut dreptate când au pus dragostea în cărți, se prea poate ca ea să nu poată exista în altă parte.”

“The work of the artist is to lift up people's hearts and help them endure.”

“Ladies and gentlemen,I feel that this award was not made to me as a man, but to my work - a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last dingdong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.”

“and i temporary and he was the saddest word of all there is nothing else in the world its not despair until time its not even time until it was”

“Well, Bud," he said, looking at me, "I'll be damned if you don't go to a lot of trouble to have your fun. Kidnapping, then fighting. What do you do on your holidays? Burn houses?”

“...it was just public opinion in an acute state of indigestion.”

“Life is not interested in good and evil. Don Quixote was constantly choosing between good and evil, but then he was choosing in his dream state. He was mad. He entered reality only when he was so busy trying to cope with people that he had no time to distinguish between good and evil. Since people exist only in life, they must devote their time simply to being alive. Life is motion, and motion is concerned with what makes man move—which is ambition, power, pleasure. What time a man can devote to morality, he must take by force from the motion of which he is a part. He is compelled to make choices between good and evil sooner or later, because moral conscience demands that from him in order that he can live with himself tomorrow. His moral conscience is the curse he had to accept from the gods in order to gain from them the right to dream.”

“. . .in August in Mississippi there’s a few days somewhere about the middle of the month when suddenly there’s a foretaste of fall, it’s cool, there’s a lambence, a soft, a luminous quality to the light, as though it came not from just today but from back in the old classic times. It might have fauns and satyrs and the gods and---from Greece, from Olympus in it somewhere. It lasts just for a day or two, then it’s gone. . .the title reminded me of that time, of a luminosity older than our Christian civilization.”

“I only write when I am inspired. Fortunately I am inspired at 9 o'clock every morning.”

“Tell about the South. What's it like there. What do they do there. Why do they live there. Why do they live at all.”

“Your outside is just what you live in, sleep in, and has little connection with who you are and even less with what you do.”

“I lied," I said. ..."I know it," he said."Then do something about it. Do anything, just so it's something.""I cant," he said."There aint anything to do? Not anything?""I didn't say that," Grandfather said. "I said I couldn't. You can.""What?" I said. "How can I forget it? Tell me how to.""You cant," he said. "Nothing is ever forgotten. Nothing is ever lost. It's too valuable.""Then what can I do?""Live with it," Grandfather said."Live with it? You mean, forever? For the rest of my life? Not ever to get rid of it? Never? I cant. Dont you see that I cant?""Yes you can," he said. "You will. A gentleman always does. A gentleman can live through anything. He faces anything. A gentleman accepts the responsibility of his actions and bears the burden of their consequences, even when he did not himself instigate them but only acquiesced to them, didn't say No though he knew he should.”

“It was too late. Maybe yesterday, while I was still a child, but not now. I knew too much, had seen too much, I was a child no longer now; innocence and childhood were forever lost, forever gone from me.”

“If we could have just done something so dreadful and Father said That's sad too people cannot do anything that dreadful they cannot do anything very dreadful at all they cannot even remember tomorrow what seemed dreadful today and I said, You can shirk all things and he said, Ah can you.”

“Ah, Mr Compson said, Years ago we in the South made our women into ladies. Then the War came and made the ladies into ghosts. So what else can we do, being gentlemen, but listen to them being ghosts?”

“Perhaps love cannot live anywhere but books.”

“What matters is at the end of life, when you're about to pass into oblivion, that you've at least scratched 'Kilroy was here,' on the last wall of the universe.”

“Ninety-nine percent talent…ninety-nine percent discipline…ninety-nine percent work. He must never be satisfied with what he does. It is never as good as it can be done. Always dream and shoot higher than you know you can do. Don’t bother just to be better than your contemporaries or predecessors. Try to be better than yourself. An artist is a creature driven by demons. He doesn’t know why they choose him and he’s usually too busy to wonder why. He is completely amoral in that he will rob, borrow, beg, or steal from anybody and everybody to get the work done.”

“That’s what they mean by the womb of time: the agony and the despair of spreading bones, the hard girdle in which lie the outraged entrails of events.”

“So vast, so limitless in capacity is man's imagination to disperse and burn away the rubble-dross of fact and probability, leaving only truth and dream.”

“It was as if the boy had already divined what his senses and intellect had not encompassed yet: that doomed wilderness whose edges were being constantly and punily gnawed at by men with plows and axes who feared it because it was wilderness, men myriad and nameless even to one another in the land where the old bear had earned a name, and through which ran not even a mortal beast but an anachronism indomitable and invincible out of an old dead time, a phantom, epitome and apotheosis of the old wild life which the little puny humans swarmed and hacked at in fury of abhorrence and fear like pygmies about the ankles of a drowsing elephant;--the old bear, solitary, indomitable, and alone; widowered childless and absolved of mortality--old Priam reft of his old wife and outlived all his sons.”

“The end of wisdom is to dream high enough to lose the dream in the seeking of it.”