"I was more concerned with committing on paper a variety of abuses, such as overwriting. I will spare everybody a detailed discussion of all the overwriting that occurs in these stories, except to mention how distressed I am at the number of tendrils that keep showing up. I still don’t even know for sure what a tendril is. I think I took the word from T.S. Eliot. I have nothing against tendrils personally, but my overuse of the word is a good example of what can happen when you spend too much time and energy on words alone."
— Thomas Pynchon, Introduction to Slow Learner
"… no bud of possibility which had not opened in the permanent bloom of artificial flowers …"
— The Recognitions by William Gaddis
"What needs to be reinforced is the idea that good writing - solid, honest, entertaining, beautiful good writing - is simultaneously the reward, the challenge, and the goal."
— Magic Hours by Tom Bissell
"The shadow of the window frame on the carpet made him involuntarily think of a guillotine; and - Christ - there was the moon, looking on, white as death in its executioner’s hood …"
— Lionel Asbo: State of England by Martin Amis
"‘It’s not some lame corporate-feast-on-your-insecurities-fucking-Pepsi-generation-youth-is-better garbage,’"
— A Naked Singularity by Sergio De La Pava
"The career of a writer is always an exception. There is never one way it happens, but the temptation to draw conclusions from another writer’s experience is always there. Do you find it tempting to try to follow the path that someone has taken? This is a theme at the heart of How Should a Person Be?"
— How Should a Writer Be? An Interview with Sheila Heti by Claire Cameron (via millionsmillions)
"I blinked and said something about the name sounding familiar, although I wasn’t sure I used the right word for ‘familiar.’"
— Leaving the Atocha Station by Ben Lerner
"‘He into some stoic, Hemingway yang.’"
— The instructions by Adam Levin