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1 " Is the writer cruel that makes his characters suffer only to bring them to triumph or tragedy in the end? "
― Johnny Rich , The Human Script
2 " The back of the church was raised up from the ground. Tossed in among its supports were what looked like moldering bones.My heart ached so much for these poor souls, neglected even after death, I turned away to head back, but managed only a few burdened steps.I drew up abruptly and froze.An old, worn marker, standing off by itself, grabbed at my heart.It was Edgar Alan Poe.He fit in so perfectly there. Maybe I did, too. His sorrow and pain ate through me as I stood, head lowered. Can’t even death let us step away from our darkness? It was like he was scratching a warning into the dirt with his finger, and meant it specifically for me. Don’t wait around for sermons to wash you clean, he seemed to say, for death or drugs to close your eyes. God won’t come roaring in with fresh troops to drive away the darkness we’ve walled our own souls up in. He didn’t put us there; we’ll have to dig ourselves out.I looked at my own life as I stood there, feeling buried alive, like some of his characters.But unlike his characters I had caught a flash of hope. "
― Edward Fahey , Entertaining Naked People
3 " consistent affection for his characters is what sets Tolstoy apart. Flaubert is equally “objective,” he says, but “Flaubert’s objectivity is charged with irritability and Tolstoy’s with affection. For Flaubert everyone and everything is somehow at fault. For Tolstoy everyone and everything has a saving grace.”“By loving people without cause, he discovered indubitable causes for loving them.” It would be hard to find a more succinct description of the chief work of the Holy Spirit in the human heart. "
― Lionel Trilling
4 " He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality.Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit. "
― Cornell Woolrich , The Fantastic Stories of Cornell Woolrich (Alternatives SF Series)
5 " It seems to me that you might create any sort of character in a novel and there would be at least one person in the world just like him. We humans are simply incapable of imagining non-human actions or behavior. It's the writer's fault if we don't believe in his characters as human beings. "
― Natsume Sōseki , Sanshirō
6 " It is too late! Ah, nothing is too lateTill the tired heart shall cease to palpitate.Cato learned Greek at eighty; SophoclesWrote his grand Oedipus, and SimonidesBore off the prize of verse from his compeers,When each had numbered more than fourscore years,And Theophrastus, at fourscore and ten,Had but begun his Characters of Men.Chaucer, at Woodstock with the nightingales,At sixty wrote the Canterbury Tales;Goethe at Weimar, toiling to the last,Completed Faust when eighty years were past,These are indeed exceptions; but they showHow far the gulf-stream of our youth may flowInto the arctic regions of our lives.Where little else than life itself survives. "
― Henry Wadsworth Longfellow , The Complete Poems of Henry Wadsworth Longfellow
7 " The constrained lives of his characters made me wonder how my own existence might appear in his hands. "
― Ian McEwan , Sweet Tooth
8 " As Henry Dan Piper, one of Fitzgerald's most perceptive critics, has commented, his fiction heroes " are destroyed because they attempt to fulfill themselves through their social relationships. They cannot distinguish between social values like popularity, charm, and success, and the more lasting moral values." Their creator did make that distinction, however, and so was constantly surrounding his characters with a mist of admiration and then blowing it away. "
9 " Konstantin Tsiolkovsky in Russia, Hermann Olberth in Germany, and Robert Goddard in the United States all came up with an eerily similar concept for using liquid fuel to power rockets for human spaceflight. I've seen this pointed out as an odd coincidence, one of those moments when an idea inexplicably emerges in multiple places at once. But when I read through each of these three men's biographies I discovered why they all had the same idea: all three of them were obsessed with Jules Verne's 1865 novel " De la terre a la lune (From the Earth to the Moon)." The novel details the strange adventures of three space explorers who travel to the moon together. What sets Verne's book apart from the other speculative fiction of the time was his careful attention to the physics involved in space travel -- his characters take pains to explain to each other exactly how and why each concept would work. All three real-life scientists -- the Russian, the German, and the American -- were following what they had learned from a French science fiction writer. "
10 " That's a good point," Professor Hirota said. " But there is one thing we ought to keep in mind in the study of man. Namely, that a human being placed in particular circumstances has the ability and the right to do just the opposite of what the circumstances dictate. The trouble is, we have this odd habit of thinking that men and light both act according to mechanical laws, which leads to some stunning errors. We set things up to make a man angry, and he laughs. We try to make him laugh, and again he does the opposite, he gets angry. Either way, though, he's still a human being." Hirota had enlarged the scope of the problem again." Well, then, what you're saying is, no matter what a human being does in a particular set of circumstances, he is being natural," said the novelist at the far end of the table." That's it," Hirota shot back. " It seems to me that you might create any sort of character in a novel and there would be at least one person in the world just like him. We humans are simply incapable of imagining non-human actions or behavior. It's the writer's fault if we don't believe in his characters as human beings. "
11 " A writer who intermingles his own opinions with that of his characters is less consequent than a fascistic communist. "
― BatWhaleDragon
12 " For the vision of a novelist is both complex and specialised; complex, because behind his characters and apart from them must stand something stable to which he relates them; specialised because since he is a single person with one sensibility the aspects of life in which he can believe with conviction are strictly limited "
― Virginia Woolf , The Common Reader
13 " In my opinion it is not the writer's job to solve such problems as God, pessimism, etc; his job is merely to record who, under what conditions, said or thought what about God or pessimism. The artist is not meant to be a judge of his characters and what they say; his only job is to be an impartial witness. I heard two Russians in a muddled conversation about pessimism, a conversation that solved nothing; all I am bound to do is reproduce that conversation exactly as I heard it. Drawing conclusions is up to the jury, that is, the readers. My only job is to be talented, that is, to know how to distinguish important testimony from unimportant, to place my characters in the proper light and speak their language. "
― Anton Chekhov