Best 7 quotes of Judith Barrington on MyQuotes

Judith Barrington

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    Judith Barrington

    If you want help in starting to write memoirs, you don't want to fall into the clutches of a famous writer who has been hired to teach at a writing workshop solely because of his name's ability to attract students, rather than because of any teaching skill. You should not have to grapple with someone who secretly thinks you should be writing about his life rather than your own.

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    Judith Barrington

    Just as composers go to concerts and artists visit galleries, writers read. You will learn, in the most enjoyable way, more about style and language from reading good literature than you will ever acquire from workshops and how-to books.

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    Judith Barrington

    My Family and Other Saints echoes Gerald Durrell's classic memoir, My Family and Other Animals, not only in its title, but in its wonderful humor and lyrical prose. Like Durrell, Kirin Narayan takes the reader to a fascinating world far from our own, and brings to life its myriad sights, sounds and smells, while revealing the profound cultural beliefs of its people. India is just the most complex character among a cast of characters-family members, gurus, hippies, and neighbors-all of whom I now count as old friends.

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    Judith Barrington

    The fact is that writing, like any creative undertaking, carries with it both pain and great joy. The pain is often inherent in the most fertile subject matter; the joy lies in transforming that subject matter and thus moving through it in a way that helps us grow while we create something of value to others.

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    Judith Barrington

    A word of warning here. The events as you remember them will never be the same in your memory once you have turned them into a memoir. For years I have worried that if I turn all of my life into literature, I won't have any real life left - just stories about it. And it is a realistic concern: it does happen like that. I am no longer sure I remember how it felt to be twenty and living in Spain after my parents died; my book about it stands now between me and my memories. When I try to think about that time, what comes to mind most readily is what I wrote.

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    Judith Barrington

    One last characteristic of the memoir that is important to recognize is one which also applies to essays, and which Georg Lukacs described as "the process of judging." This may seem problematic to some, since...we connect it with 'judgmental,' often used nowadays as a derogatory word. But the kind of judgment necessary to the good personal essay, or to the memoir, is not that nasty tendency to oversimplify and dismiss other people out of hand but rather the willingness to form and express complex opinions, both positive and negative. If the charm of memoir is that we, the readers, see the author struggling to understand her past, then we must also see the author trying out opinions she may later shoot down, only to try out others as she takes a position about the meaning of her story. The memoirist need not necessarily know what she thinks about her subject but she must be trying to find out; she may never arrive at a definitive verdict, but she must be willing to share her intellectual and emotional quest for answers. Without this attempt to make a judgment, the voice lacks interest, the stories, becalmed in the doldrums of neutrality, become neither fiction nor memoir, and the reader loses respect for the writer who claims the privilege of being the hero in her own story without meeting her responsibility to pursue meaning. Self revelation without analysis or understanding becomes merely an embarrassment to both reader and writer.

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    Judith Barrington

    Whether or not you employ humor in dealing with difficult subjects, the tone of the writing is of the utmost importance. Personally, I can read about almost any subject if I feel a basic trust in, and respect for, the writer. The voice must have authority. But more than that, I must know that the writer is all right. If she describes a suicide attempt or a babysitter's cruelty to her, or a time of acute loneliness, I need to feel that the writer, not the character who survived the experience, is in control of telling the story....The tone of such pieces may be serious, ironic, angry, sad, or almost anything except whiny. There must be no hidden plea for help - no subtle seeking of sympathy. The writer must have done her work, made her peace with the facts, and be telling the story for the story's sake. Although the writing may incidentally turn out to be another step in her recovery, that must not be her visible motivation: literary writing is not therapy. Her first allegiance must be to the telling of the story and I, as the reader, must feel that I'm in the hands of a competent writer who needs nothing from me except my attention.