Best 42 quotes of Claire Messud on MyQuotes

Above all, in my anger, I was sad. Isn't that always the way, that at the heart of the fire is a frozen kernel of sorrow that the fire is trying -- valiantly, fruitlessly -- to eradicate.

An abiding preoccupation for me is how much of our lives are invisible and unknown by other people like the Chekhov story The Lady With the Little Dog.

And then, into the fantasy, as into a dream, would come the thought: it's not like this anymore; the world has changed. Just the way, even at that time fully two years after my mother's death, I'd catch myself thinking about her as alive; and would suddenly remember, an admonitory finger of grief upon my breast, that she was gone.

Anyway, these books I love, they’re all books by men—every last one of them. Because if it’s unseemly and possibly dangerous for a man to be angry, it’s totally unacceptable for a woman to be angry. I wanted to write a voice that for me, as a reader, had been missing from the chorus: the voice of an angry woman.

As my wise friend Didi has more than once observed about life's passages, every departure entails an arrival elsewhere, every arrival implies a departure from afar.

But do you know this idea of the imaginary homeland? Once you set out from shore on your little boat, once you embark, you'll never truly be at home again. What you've left behind exists only in your memory, and your ideal place becomes some strange imaginary concoction of all you've left behind at every stop.

But we're lost in a world of appearances now.

Does Being Happy simply Create More Time, in the way that Being Sad, as we all know, slows time and thickens it, like cornstarch in a sauce?).

I always thought I'd get farther. I'd like to blame the world for what I've failed to do, but the failure - the failure that sometimes washes over me as anger, makes me so angry I could spit - is all mine, in the end. What made my obstacles insurmountable, what consigned me to mediocrity, is me, just me. I thought for so long, forever, that I was strong enough -- or I misunderstood what strength was.

I believe that, in an ideal world, writers would feel free to write what matters to them without having to consider success, failure, the market, etc.

If you’re reading to find friends, you’re in deep trouble. We read to find life, in all its possibilities. The relevant question isn’t ‘Is this a potential friend for me?’ but ‘Is this character alive?'

I measure my life out in books." "You should be measuring your life by living. Correction: you shouldn't be measuring your life. What's the point?

I’m not a writing group member, not a joiner in that way. I don’t seek a wide swath of feedback.

It doesn't ever occur to you, as you fashion your mask so carefully, that it will grow into your skin and graft itself, come to seem irremovable.

I think that one of the great things about spending - as in my case - twenty-something years with somebody is that at some point you do love the actual person. They're there little by little, the outline is really pretty clear.

I think there's no question that there's a reason why small children make great art and why slightly bigger children don't. And it's because small children don't worry about what anybody else thinks and slightly bigger children start to worry about these things.

It's the strangest thing about being human: to know so much, to communicate so much, and yet always to fall so drastically short of clarity, to be, in the end, so isolate and inadequate. Even when people try to say things, they say them poorly or obliquely, or they outright lie, sometimes because they're lying to you, but as often because they're lying to themselves.

I've discovered over the years that the simplest explanation is almost always the right one; and that hunger of one kind or another - desire, by another name - is the source of almost every sorrow.

I wanted to write a voice that for me, as a reader, had been missing from the chorus: the voice of an angry woman.

I was funny -- ha-ha, not peculiar. It was a modest currency, like pennies: pedestrian, somewhat laborious, but a currency nonetheless. I was funny, in public, most often at my own expense.

Just because something is invisible doesn't mean it isn't there. At any given time, there are a host of invisibles floating among us. There are clairvoyants to see ghosts; but who sees the invisible emotions, the unrecorded events? Who is that sees love, more evanescent than any ghost, let alone can catch it? Who are you tell me that I don't know what love is?

Life's funny. You have to find a way to keep going, to keep laughing, even after you realize that none of your dreams will come true. When you realize that, there's still so much of a life to get through.

Maybe that, really, is as good a definition as any of an artist in the world: a ruthless person.

Nobody would know me from my own description of myself; which is why, when called upon (rarely, I grant) to provide an account, I tailor it, I adapt, I try to provide an outline that can, in some way, correlate to the outline that people understand me to have -- that, I suppose, I actually have, at this point. But who I am in my head, very few people really get to see that. Almost none. It's the most precious gift I can give, to bring her out of hiding.

Popular success is a wonderful gift if it happens, but like money, it's not the motivation. The effort to create a work of art that is true and potentially lasting, that is the very best work of art you can create at that point in your life - a book that may only reach or move a few people but will seem to people somehow transformative. That's the ideal; that's always the motivation.

That's so her. You know, torn between Big Ideas and a party. She's always been that way.

The apartment was entirely, was only, for her: a wall of books, both read and unread, all of them dear to her not only in themselves, their tender spines, but in the moments or periods they evoked… Her self, then, was represented in her books; her times in her records; and the rest of the room she thought of as a pure, blank slate.

The more accurately one can illuminate a particular human experience, the better the work of art.

The professor husband of a friend of mine has likened children to the insane. I often think of it. He says that children live on the edge of madness, that their behavior, apparently unmotivated, shares the same dream logic as crazy people's. I see what he means, and because I've learned to be patient with children, to tease out the logic that's always somewhere there, and irrefutable once explained.

There questions of wanting to be an artist, and what does that mean, what makes you an artist? Are you an artist if you're in a gallery in New York and not an artist if you're doing it at home? Do you need legitimation to count? If you've been acculturated to believe that you have certain obligations - familial, social, human - if multitasking has been your forte and that's what's been praised and rewarded, where do you find the single-mindedness, the selfishness to do something like art? I think those are questions that arise differently for women and for men.

There's a reason why trainspotters are not girls, there's a reason why there's the myth of the slightly autistic male genius, there's a reason why Gertrude Stein believed that her self-presentation was male. One could argue that was Susan Sontag also. The things that we associate with femaleness are not the single-minded, exclusive pursuit of a vocation, whether it be art or anything else. It is not a model that is widespread in our culture, it's not something we think of for women.

To my mind, Guernica is the most important online intellectual and literary journal in America today.

We live in a funny time, a funny era, when desire, to be adult desire, has to be conceived as sexual. And that didn't used to be the case. Sexuality is a social construction as much as anything else and I think the realities of sexuality don't always fit into the social constructions that we have, and we live in a goal-oriented time - on all fronts.

When you are the woman upstairs, nobody thinks of you first. Nobody calls you before anyone else, or sends you the first postcard. Once your mother dies, nobody loves you “best of all.” It's a small thing, you might think, and maybe it depends on your temperament, maybe for some people it's a small thing, but for me [...]

Yes, writing is essential to me. It's my way of living in the world.

But do you know this idea of the imaginary homeland? Once you set out from shore on your little boat, once you embark, you'll never truly be at home again. What you've left behind exists only in memory, and your ideal place becomes some strange imaginary concoction of all you've left behind at every stop.

I needed them, sure, and we can all argue about the moment when the balance tipped and I needed them so much that I would hurt. But you can't pretend they didn't need me too, each in his or her way. They wouldn't necessarily have admitted it - except Reza - but you can't tell me they didn't love me. The heart knows. The body knows. When I was with Sirena, or Reza, or Skandar, the air moved differently between us; time passed differently; words or gestures meant more than themselves. If you've never had this experience-but who has not been visited by love, laughing?-then you can't understand. And if you have, you don't need me to say another word.

It was supposed to say "Great Artist" on my tombstone, but if I died right now it would say "such a good teacher/daughter/friend" instead; and what I really want to shout, and want in big letters on that grave, too, is FUCK YOU ALL.

I want to make a difference. But get a job? I worry that will make the ordinary, like everybody else.

She wanted to remind him, whether his family was there or not. She wanted. And wanted. And endured in her wanting: the damp seat, the dry chicken, more champagne, the headache the champagne brought, the midges, the chat, his failure, no refusal, to look, look at me, I caused a thunderstorm with my passion and I sit here shaking under my skin and you don't notice because you're trying so hard not to notice, but all the people at the table there are really only you and me and you know it, the air is charged with it, it's a heat, a hot wind, and Marina and Seely are a sham next to it, Annabel ceases to exist, is simply obliterated in the gale of it, this isn't a fantasy, not my imagination, I can tell by the way you lift your fork, by the set of your jaw, by that sixth cigarette you are smoking me, or would if you could; but how long can we sustain it, how long till eruption, till the storm returns again and they can all see what it is, what it really is?

We read to find life, in all its possibilities.

When you’re a girl, you never let on that you are proud, or that you know you’re better at history, or biology, or French, than the girl who sits beside you and is eighteen months older. Instead you gush about how good she is at putting on nail polish or at talking to boys, and you roll your eyes at the vaunted difficulty of the history/biology/French test and say, ‘Oh my God, it’s going to be such a disaster! I’m so scared!’ and you put yourself down whenever you can so that people won’t feel threatened by you, so they’ll like you, because you wouldn’t want them to know that in your heart, you are proud, and maybe even haughty, and are riven by thoughts the revelation of which would show everyone how deeply Not Nice you are. You learn a whole other polite way of speaking to the people who mustn’t see you clearly, and you know—you get told by others—that they think you’re really sweet, and you feel a thrill of triumph: ‘Yes, I’m good at history/biology/French, and I’m good at this, too.’ It doesn’t ever occur to you, as you fashion your mask so carefully, that it will grow into your skin and graft itself, come to seem irremovable.