Best 43 quotes of Joy Williams on MyQuotes

A side benefit of the new and developing technologies is that soon we won't have to feel guilty about the suffering and denigration of the animals because we will have made them up.

As you grow older, you'll find that you enjoy talking to strangers far more than to your friends.

A writer starts out, I think, wanting to be a transfiguring agent, and ends up usually just making contact, contact with other human beings. This, unsurprisingly, is not enough.

Did the walls of the barn start to tremble With a glory they could not contain? Did anyone wake with the feeling Of peace that they could not explain? Oh the love must have been overwhelming As it warmed everyone in it's flow For all of the earth is still telling of 2000 Decembers ago.

For centuries poets, some poets, have tried to give a voice to the animals, and readers, some readers, have felt empathy and sorrow. If animals did have voices, and they could speak with the tongues of angels-at the very least with the tongues of angels-they would be unable to save themselves from us. What good would language do? Their mysterious otherness has not saved them, nor have their beautiful songs and coats and skins and shells and eyes.

Good writing never soothes or comforts. It is no prescription, neither is it diversionary, although it can and should enchant while it explodes in the reader's face.

I believe in guilt. There's not enough guilt around these days for my taste.

I think I had the same notion most people have, which is it’s simply a town that percolates around country music. Though country-music history is deep and richly steeped throughout the city, this is a place that’s been expanding musically and culturally…People coming from Europe and Canada-there are all kinds of different cultures and different music being represented here. It continues to blossom.

I think the writer has to be responsible to signs and dreams. If you don't do anything with it, you lose it.

It's become fashionable these days to say that the writer writes because he is not whole, he has a wound, he writes to heal it, but who cares if the writer is not whole; of course the writer is not whole, or even particularly well.

Many writers today are wanderers. There is not only an unhousedness in language - how to convey, to say nothing of converge - but an unhousedness of place.

Nothing the writer can do is ever enough.

Nothing we do is inevitable, but everything we do is irreversible.

Of course there is nothing that cannot be done incorrectly.

One is always enthralled, I think, when a young writer you're just beginning to read and comprehend dies.

Someone once told me a story about long term relationships. To think of them as a continent to explore. I could spend a lifetime backpacking through Africa, and I would still never know all there is to know about that continent. To stay the course, to stay intentional, to stay curious and connected - that's the heart of it. But it's so easy to lose track of the trail, to get tired, to want to give up, or to want a new adventure. It can be so easy to lose sight of the goodness and mystery within the person sitting right in front of you.

There is a certain type of conversation one hears only when one is drunk and it is like a dream, full of humor and threat and significance, deep significance.

There is something unwholesome and destructive about the entire writing process.

The writer doesn’t write for the reader. He doesn’t write for himself, either. He writes to serve…something. Somethingness. The somethingness that is sheltered by the wings of nothingness — those exquisite, enveloping, protecting wings.

The writer trusts nothing she writes-it should be too reckless and alive for that, it should be beautiful and menacing and slightly out of control. . . . Good writing . . . explodes in the reader's face. Whenever the writer writes, it's always three or four or five o'clock in the morning in her head.

What a story is, is devious. It pretends transparency, forthrightness. It engages with ordinary people, ordinary matters, recognizable stuff. But this is all a masquerade. What good stories deal with is the horror and incomprehensibility of time, the dark encroachment of old catastrophes...

Writers are like eremites or anchorites - natural-born eremites or anchorites - who seem puzzled as to why they went up the pole or into the cave in the first place.

Writers end up writing stories-or rather, stories' shadows-and they're grateful if they can, but it is not enough. Nothing the writer can do is ever enough

Writers when they're writing live in a spooky, clamorous silence, a state somewhat like the advanced stages of prayer but without prayer's calming benefits.

You don't believe in Nature anymore. It's too isolated from you. You've abstracted it. It's so messy and damaged and sad. Your eyes glaze as you travel life's highway past all the crushed animals and the Big Gulp cups.

You have never seen such animals as these who without a sound or a sign carry you off. You race with them across the long familiar ground that in that moment seems so glorious, so charged with beauty, strange. In their jaws you are carried so effortlessly, with such great care that you think it will never end, you long for it not to end, and then you wake and know that, indeed, they have not brought you back.

You must stop worrying about why things happen and wonder what they mean when they do.

Anthropomorphism originally meant the attribution of human characteristics to God. It is curious that the word is now used almost exclusively to ascribe human characteristics--such as fidelity or altruism or pride, or emotions such as love, embarrassment, or sadness--to the nonhuman animal. One is guilty of anthropomorphism, though it is no longer a sacrilegious word. It is a derogatory, dismissive one that connotes a sort of rampant sentimentality. It’s just another word in the arsenal of the many words used to attack the animal rights movement.

But there was a rumble of panic underneath everything. And if it wasn't the fear of death, what was it? She felt it always, the terror, even in the brightest moments. What was it then, when she didn't even care?

For centuries poets, some poets, have tried to give a voice to the animals, and readers, some readers, have felt empathy and sorrow. If animals did have voices, and they could speak with the tongues of angels--at the very least with the tongues of angels--they would be unable to save themselves from us. What good would language do? Their mysterious otherness has not saved them, nor have their beautiful songs and coats and skins and shells and eyes. We discover the remarkable intelligence of the whale, the wolf, the elephant--it does not save them, nor does our awareness of the complexity of their lives. Their strength, their skills, their swiftness, the beauty of their flights. It matters not, it seems, whether they are large or small, proud or shy, docile or fierce, wild or domesticated, whether they nurse their young or brood patiently on eggs. If they eat meat, we decry their viciousness; if they eat grasses and seeds, we dismiss them as weak. There is not one of them, not even the songbird who cannot, who does not, conflict with man and his perceived needs and desires. St. Francis converted the wolf of Gubbio to reason, but he performed this miracle only once and as miracles go, it didn’t seem to capture the public’s fancy. Humans don’t want animals to reason with them. It would be a disturbing, unnerving, diminishing experience; it would bring about all manner of awkwardness and guilt.

He could almost taste the tang of that swampy air right here in his own desert parking lot and hear the calls of the heavily beating flock, sorrowing and apologizing and making plans for some other time. Time. He realized that crows had always reminded him of time, dark time. He gazed at the backs of his hands, at the plummy dark repellent veins.

hThere was something shameful about surviving sorrow. You were corrupted. She was corrupted. She was no good anymore. She was inauthentic, apocryphal. She wanted to be a seeker and to travel further and further. But after sorrow, such traveling is not a climbing but a sinking to a depth leached of light at which you are unfit to endure. And yet you endure there.

Imagination only fails us in the end, when the stories we tell ourselves have to stop.

Love comes and goes, pitching its mansion. And on the circular track of days, it appears that Dread is gaining on Devotion every second.

One of the greatest secrets of life is learning to live without being happy.

Our treatment of animals and our attitude toward them are crucial not only to any pretensions we have to ethical behavior but the humankind's intellectual and moral evolution. Which is how the human animal is meant to evolve, isn't it?

Pearl would smile helplessly back with the sickening feeling that she was collaborating with God. Not the God of her mother's faulty and romantic vision, but the true one. A God of barbaric and unholy appearance, with a mind uncomplimentary to human consciousness.

She was never going to seek gainful employment again, that was for certain. She'd remain outside the public sector. She'd be an anarchist, she'd travel with jaguars. She was going to train herself to be totally irrational. She'd fall in love with a totally inappropriate person. She'd really work on it, but abandon would be involved as well. She'd have different names, a.k.a. Snake, a.k.a. Snow - no that was juvenile. She wanted to be extraordinary, to possess a savage glitter.

That's nice, isn't it?" Edith said. "That little kid is so trusting it's kind of holy, but if his trust were misplaced it would really be holy.

The bill then commenced a round of payment for lingerie, biopsy results and brake linings. It suffered a life that the most lurid of imaginations could not conjure. It penetrated deep into the repulsive nature of banality. It traveled and was suckered more than once. It knew bright lights and dark pockets. It knew admissions to pornographic films. It bought ten pairs of Mexican boxing shoes, a cheap cashmere sweater and a down payment for a trip never realized. It went off like an orphan, wailing. The flashy coincidences it disclosed were made routine by repetition. It never looked life straight in the eye. Not once. And it never returned.

Why does the writer write? The writer writes to serve — hopelessly he writes in the hope that he might serve — not himself and not others, but that great cold elemental grace which knows us. A writer I very much admire is Don DeLillo. At an awards ceremony for him at the Folger Library several years ago, I said that he was like a great shark moving hidden in our midst, beneath the din and wreck of the moment, at apocalyptic ease in the very elements of our psyche and times that are most troublesome to us, that we most fear. Why do I write? Because I wanna be a great shark too. Another shark. A different shark, in a different part of the ocean. The ocean is vast.

Your child dreads to become alive and real because he fears that in doing so, the risk of annihilation is immediately potentiated.

Your silence is a little black garden. You know everything there by heart.