Best 77 quotes of Meg Wolitzer on MyQuotes

After a certain age, you felt a need not to be alone. It grew stronger, like a radio frequency, until finally it was so powerful that you were forced to do something about it.

And didn't it always go like that--body parts not lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.

And I also know that pain can seem like an endless ribbon. You pull it and you pull it. You keep gathering it toward you, and as it collects, you really can't believe that there's something else at the end of it. Something that isn't just more pain. But there's always something else at the end; something at least a little different. You never know what that thing will be, but it's there.

And specialness - everyone wants it. But Jesus, is it the most essential thing there is? Most people aren't talented. So what are they supposed to do - kill themselves?

Being an adult child was an awkward, inevitable position. You went about your business in the world: tooling around, giving orders, being taken seriously, but there were still these two people lurking somewhere who in a split second could reduce you to nothing. In their presence, you were a big-headed baby again, crawling instead of walking.

Books light the fire-whether it's a book that's already written, or an empty journal that needs to be filled in.

Both my mother and I have close groups of friends that include other writers, and these friendships are very important to us.

But it had no doubt sprung from true emotion, for all that parents ever wanted, really, was for you to love their child the way they did.

But it's never just been the journals that have made the difference, I don't think. It's also the way the students are with one another . . . the way they talk about books and authors and themselves. Not just their problems, but their passions too. The way they form a little society and discuss whatever matters to them. Books light the fire-whether it's a book that's already written, or an empty journal that needs to be filled in.

But, she knew, you didn’t have to marry your soulmate, and you didn’t even have to marry an Interesting. You didn’t always need to be the dazzler, the firecracker, the one who cracked everyone up, or made everyone want to sleep with you, or be the one who wrote and starred in the play that got the standing ovation. You could cease to be obsessed with the idea of being interesting.

But this post-college world felt different from everything that had come before it; art was still central, but now everyone had to think about making a living too, and they did so with a kind of scorn for money except as it allowed them to live the way they wanted to live.

Even if you yourself were unhappy and anxious, whenever you glimpsed happiness in your child, you suddenly became happy too.

Everybody has a theme. You talk to somebody awhile, and you realize they have one particular thing that rules them. The best you can do is a variation on the theme, but that's about it.

For me, a novel relying too heavily on a single idea might be a dry, deadly thing unless it possesses an animating force.

Good writing is good writing, and I'm so happy when I read it.

I always thought it was the saddest and most devastating ending. How you could have these enormous dreams that never get met. How without knowing it you could just make yourself smaller over time. I don't want that to happen to me.

It seemed that everywhere you went, people quickly adapted to the way they had to live, and called it Life.

I've been waiting for someone to sign the permission slip for me to write about sex. In the meantime, I've written about sex in all my books anyway.

Just the act of sleeping beside someone you liked to be with. Maybe that was love.

New teachers were just a part of life, for a few days after one arrived, squawks of interest were emitted from various corners, but then they died away as the teacher was absorbed like everyone else...before you knew it, the fresh ones seemed to have been teaching there forever too, or else they didn't last very long, and were gone before you'd gotten to know them.

Objectifying your own novel while writing it never really helps. Instead, I guess while you're writing you need to think: This is the novel I want to write. And when you're done you need to think: This is what the novel I wanted to write feels like and reads like and looks like. Other people might call it sweeping or small, but it's the book you chose.

People could not get enough of what they had lost, even if they no longer wanted it.

The child who was happy with herself meant the parents had won the jackpot.

The generation that had information, but no context. Butter, but no bread. Craving, but no longing.

The minute you had kids you closed ranks. You didn't plan this in advance, but it happened. Families were like individual, discrete, moated island nations. The little group of citizens on the slab of rock gathered together instinctively, almost defensively, and everyone who was outside the walls—even if you'd once been best friends—was now just that, outsiders.

The only option for a creative person was constant motion—a lifetime of busy whirligigging in a generally forward direction, until you couldn’t do it any longer.

This post-college world felt different from everything that had come before it.

To be anorexic...she thought, amounted to wanting to shed yourself of some of the imperfect mosaic of pieces that made you who you were. She could understand that now for, maybe underneath that desquamated self you would locate a new version.

Twitter," said Manny, waving his hand. "You know what that is? Termites with microphones.

"Unputdownable" is, I suppose, something we all dream of, maybe without knowing it. I realized, some time ago, that a novel can hold a lot, and it made sense that this one was not of the sleek and economical variety, but instead the "full" type. Novel as piñata. And the reader does the whacking. I had a central idea, which is to look at what happens to talent over time.

Wasn't the whole point of being an artist, or at least part of it, that you didn't have to wear a tie?

We do seem, as a culture, to fetishize the "sweep." But I know there's room for "big" short, fierce novels, and "big" solid ones.

We sometimes drive ourselves crazy with how our books will be "seen," when in fact we already know what they're about, and where our obsessions are. If we can spin those obsessions into fiction, then there's a decent chance they will be "fiction-worthy," as you call it. The idea of the "sweep of ideas" is a complicated one.

When I wrote The Interestings, I wanted to let time unspool, to give the book the feeling of time passing. I had to allow myself the freedom to move back and forth in time freely, and to trust that readers would accept this.

While it's true that some writers, when taking on love and war, find the task too big, or only succeed in one but not the other, Mengestu tracks both themes with authority and feeling.

You had only one chance for a signature in life, but most people left no impression.

You stayed around your children as long as you could, inhaling the ambient gold shavings of their childhood, and at the last minute you tried to see them off into life and hoped that the little piece of time you’d given them was enough to prevent them from one day feeling lonely and afraid and hopeless. You wouldn’t know the outcome for a long time.

A child just wants to love her parents and to be loved, and it seems like it should be simple to do that, but sometimes it's not.

And it was true that if you categorized people by which Disney character they were, then Jonah would always be Bambi. Motherless, graceful, unobtrusive. Ethan--Jiminy Cricket, the annoying little conscience... just look at Ash. In the Disney hierarchy she was Snow White... He paused to wonder which Disney character Jules was, and realized that Disney did not make women or girls or woodland animals that were like her.

And that's acceptable to you?" Faith took a second. "I always weigh it," she said. "Like with Ecuador. I'm ashamed of what happened. But those young women are free and presumably out of danger. I have to weigh that too, don't I? That's what it's about, this life. The weighing.

Apparently, something can happen inside someone you love—it can just happen somehow—and like magic she thinks that she’s had enough, and that the way the two of you have been for a really long time is no longer worth the effort. Does that sound familiar to anyone.

...because when you're young, you don't really believe you'll ever be anything other than young.

But clearly life took people and shook them around until finally they were unrecognizable even to those who had once known them well. Still, there was power in once having known someone.

But here was where the question of talent became slippery, for who could say whether Spirit-in-the-Woods had ever pulled incipient talent out of a kid and activated it, or whether the talent had been there all along and would have come out even without this place.

Corporate America had tried to get women to behave as badly as men, Faith Frank said, but women did not have to capitulate. They could be strong and powerful, all the while keeping their integrity and decency.

Dennis was present, still present, and this, she thought as she stayed landed against him, was no small talent.

For while they'd stayed close during the absurd years of his sharp rise, having children had knocked it all into a different arrangement. The minute you had children you closed ranks. You didn't plan this in advance, but it happened. Families were like individual, discrete, moated island nations. The little group of citizens on the slab of rock gathered together instinctively, almost defensively, and everyone who was outside the walls--even if you'd once been best friends--was now just that, outsiders. Families had their ways. You took note of how other people raised their kids, even other people you loved, and it seemed all wrong. The culture and practices of one's own family were the only way, for better or worse. Who could say why a family decided to have a certain style, to tell the jokes it did, to put up its particular refrigerator magnets?

I always thought talent was everything, but maybe it was always money. Or even class. Or if not class exactly, connections.

If someone said 'diametrically,' could 'opposed' be far behind?

I like being a girl. I just want to be the one who says what that means.