Best 48 quotes of Janet Frame on MyQuotes

All writers are exiles wherever they live and their work is a lifelong journey towards the lost land.

[...] a morass of despair violence death with a thin layer of glass spread upon the surface where Love, a tiny crab with pincers and rainbow shell, walked delicately ever sideways but getting nowhere, while the sun [...] rose higher in the sky its tassels dropping with flame threatening every moment to melt the precarious highway of glass. And the people: giant pathworks of colour with limbs missing and parts of their mind snipped off to fit them into the outline of the free pattern.

But it is imperative, for our own survival, that we avoiid one another, and what more successful means of avoidance are there than words? Language will keep us safe from human onslaught, will express for us our regret at being unable to supply groceries or love or peace.

Conversation is the wall we build between ourselves and other people, too often with tired words like used and broken bottles which, catching the sunlight as they lie embedded in the wall, are mistaken for jewels.

Death is a dramatic accomplishment of absence; language may be almost as effective.

Divisions of the kind were fashionable at that time, and it was so easy to stifle one's need to help by deciding that help could neither be accepted nor understood.

Electricity, the peril the wind sings to in the wires on a gray day.

Every morning I woke in dread, waiting for the day nurse to go on her rounds and announce from the list of names in her hand whether or not I was for shock treatment, the new and fashionable means of quieting people and of making them realize that orders are to be obeyed and floors are to be polished without anyone protesting and faces are to be made to be fixed into smiles and weeping is a crime.

Everything is always a story, but the loveliest ones are those that get written and are not torn up and are taken to a friend as payment for listening, for putting a wise keyhole to the ear of my mind

For in spite of the snapdragons and the duty millers and the cherry blossoms, it was always winter.

For your own good is a persuasive argument that will eventually make a man agree to his own destruction.

From the first place of liquid darkness, within the second place of air and light, I set down the following record with its mixture of fact and truths and memories of truths and its direction toward the Third Place, where the starting point is myth.

He sees the land of meaning, and one path to it, and the so-called “normal” people traveling swiftly and in comfort to the land; he does not include the shipwrecked people who arrive by devious lonely routes, and the many who dwell in the land in the beginning.

I am not really a writer. I am just someone who is haunted, and I will write the hauntings down.

I had a cousin once who lived in your dictionary, inside the binding, and there was a tiny hole which he used for a door, and it led out between trichotomy and trick. Now what do you think of that? It was only a few minutes walk to trigger, then over the page to trinity, trinket and trional, and there my cousin used to fall asleep.

I have always disliked the morning, it is too responsible a time, with the daylight demanding that it be 'faced' and (usually when I wake for I wake late) with the sun already up and in charge of the world, with little hope of anyone usurping or challenging its authority. A shot of light in the face of a poor waking human being and another slave limps wounded into the light-occupied territory.

I have discovered that my freedom is within me, and nothing can destroy it.

I inhabited a territory of loneliness which resembles the place where the dying spend their time before death, and from where those who do return, living, to the world bring, inevitably, a unique point of view that is a nightmare, a treasure, and a lifelong possession.[It is] equal in its rapture and chilling exposure [to] the neighbourhood of the ancient gods and goddesses.

I must go down to the seas again to find where I buried the hatchet with Yesterday.

It is always hard to believe that the will to change something does not produce an immediate change.

It would be nice to travel if you knew where you were going and where you would live at the end or do we ever know, do we ever live where we live, we're always in other places, lost, like sheep.

Language, at least, may give up the secrets of life and death, leading us through the maze to the original Word as monster or angel, to the mournful place where we may meet Job and hear his cry, 'How long will you vex my soul and break me in pieces with words?

Life is hell, but at least there are prizes. Or so one thought.

Listening to her, one experienced a deep uneasiness as of having avoided an urgent responsibility, like someone who, walking at night along the banks of a stream, catches a glimpse in the water of a white face or a moving limb and turns quickly away, refusing to help or to search for help. We all see the faces in the water. We smother our memory of them, even our belief in their reality, and become calm people of the world; or we can neither forget or help them. Sometimes by a trick of circumstances or dream or a hostile neighborhood of light we see our own face.

People dread silence because it is transparent; like clear water, which reveals every obstacle—the used, the dead, the drowned, silence reveals the cast-off words and thoughts dropped in to obscure its clear stream. And when people stare too close to silence they sometimes face their own reflections, their magnified shadows in the depths, and that frightens them. I know; I know.

Possibility was not a bag or box that could be closed and sealed, it was a vast open chute which received everything, everything; one could not choose or direct or destroy the powerful flow of possibility.

She grew more and more silent about what really mattered. She curled inside herself like one of those black chimney brushes, the little shellfish you see on the beach, and you touch them, and then go inside and don’t come out.

So we went to bed, assaulted by sleep that fumed at us from medicine glasses, or was wielded from small sweet-coated tablets -- dainty bricks of dream wrapped in the silk stockings of oblivion.

The idea was to have a basin inverted on his head and his hair cut to the shape of it. Skill and money were not needed. Then the idea grew that it was more convenient to leave the basin on his head. Stray thoughts were trimmed along with stray hair; brain-vines, tentacles of thought, were not encouraged to wander. Then, in the interests of human economy, the head of adaptable man became a basin of uniform shape—a basin, a crash helmet. Safe at last; no more thought-cuts.

The only certainty about writing and trying to be a writer is that it has to be done, not dreamed of or planned and never written, or talked about (the ego eventually falls apart like a soaked sponge), but simply written; it's a dreadful, awful fact that writing is like any other work.

There is no past or future. Using tenses to divide time is like making chalk marks on water.

...there must be an inviolate place where the choices and decisions, however imperfect, are the writer's own, where the decision must be as individual and solitary as birth or death.

The sooner you 'settle' the sooner you'll be allowed home" was the ruling logic; and "if you can't adapt yourself to living in a mental hospital how do you expect to be able to live 'out in the world'?" How indeed?

The strain of constant adaptation to so many fearful events and discoveries is already too much to bear with sanity; one has to keep pretending to slip successfully into the new mould; a time will come when the tailored and camouflaged mind breaks beneath the burden; the stick insect in our brains no longer cares to resemble a twig on the same habitual human tree in the mere hope that it may survive extinction.

The sun is all love and murder, judgement, the perpetual raid of conscience, paratrooping light which opens like a snow-blossom in the downward drift of death. Wherever I turn - the golden cymbals of judgement, the summoning of the torturers of light.

time past is not time gone, it is time accumulated with the host resembling the character in the fairytale who was joined along the route by more and more characters none of whom could be separated from one another or from the host, with some stuck so fast that their presence caused physical pain.

Timmy, who made a daring escape, also made a mistake of paying the taxi driver with a check made out of toilet paper.

We could think or feel as we wished toward the characters, or as the poet, discounting history, invited us to; we were the poet's guest, his world was his own kingdom, reached, as one of the poems told us, through the 'Ring of Words.

when I first began this diary I said I would give a record of my inner life. I begin to wonder if I have said anything about my inner life. What if I have no inner life?

When our thoughts revolve we are so often deceived into supposing that their violent movement is an indication of their vigorous originality, the upheaval of prejudice and fixed ideas, when all the time it is more likely that the machine which contains them is only an elaborate cement-mixer, and when the thinking is finished, those whirling thoughts are smoothed into the unchanged conventional mould and seeing them set solid enough to dance, to build, to travel upon, we would never dream of their first deceit, of the hope once roused by their apparently violent reorganisation.

Writing an autobiography, usually thought of as a looking back, can just as well be a looking across or through, with the passing of time giving an X-ray quality to the eye.

Writing a novel is not merely going on a shopping expedition across the border to an unreal land: it is hours and years spent in the factories, the streets, the cathedrals of the imagination.

And at times I murmured the token phrase to the doctor, ‘When can I go home?’ knowing that home was the place where I least desired to be. There they would watch me for signs of abnormality, like ferrets around a rabbit burrow waiting for the rabbit to appear.

I don't want to inhabit the human world under false pretenses.

I know there is a moment when sound slips down the torn lining of itself into silence, is carried unheard and secret in its own pocket. But the crimson birds could find no such escape, no means of slipping beyond themselves between the cracks of color and song to a white undiscovered silence.

It is my trade," he said. "I work for the bean family, and every day there are deaths among the beans, mostly from thirst. They shrivel and die, they go blind in their one black eye, and I put them in one of these tiny coffins. Beans, you know, are beautifully shaped, like a new church, like modern architecture, like a planned city

I will put warm woolen socks on the feet of the people in the other world; but I dream and cannot wake, and I am cast over the cliff and hang there by two fingers that are danced and trampled on by the giant unreality.

They all seemed hungry, happy, and healthy enough in their buzzing—oh the days were hot, and the noise of bees filled the air that was dusty with pollen and sun haze, and there were tiny black flies stuck to one another crowded by the creek and a creek stink rising from the deep pool under the willow tree where a wheat sack of new kittens had been drowned, and their tiny terrible struggling had shot like an electric current through the confusion of muddy water and up the arm of the person who had tied the stone around the mouth of the sack and thrust it into the water; and the culprit had not been able to brush away the current; it penetrated her body and made her heart beat with fear and pity. I was the culprit.