For the holy are susceptible too to evil, even as you and I, signori; they too are helpless before sin without God’s aid. … And the holy can be fooled by sin as quickly as you or I, signori. Quicker, because they are holy.
Quotations by:
Faulkner, William
Always dream and shoot higher than you know you can do. Don’t bother just to be better than your contemporaries or predecessors. Try to be better than yourself.
William Faulkner (1897-1962) American novelist
“The Art of Fiction No. 12,” interview by Jean Stein, The Paris Review (Spring 1956)
(Source)
On being a good novelist.
Maybe the purpose of this sorry and tragic error committed in my native Mississippi by two white adults on an afflicted Negro child is to prove to us whether or not we deserve to survive. Because if we in America have reached that point in our desperate culture when we must murder children, no matter for what reason or what color, we don’t deserve to survive, and probably won’t.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
Regarding the Emmett Till murder.
An artist is a creature driven by demons. He doesn’t know why they chose him and he’s usually too busy to wonder why. He is completely amoral in that he will rob, borrow, beg, or steal from anybody and everybody to get the work done.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
The writer’s only responsibility is to his art. He will be completely ruthless if he is a good one. He has a dream. It anguishes him so much he must get rid of it. He has no peace until then. Everything goes by the board: honor, pride, decency, security, happiness, all, to get the book written. If a writer has to rob his mother, he will not hesitate; the “Ode on a Grecian Urn” is worth any number of old ladies.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
One of the saddest things is that the only thing that a man can do for eight hours a day, day after day, is work. You can’t eat eight hours a day nor drink for eight hours a day nor make love for eight hours — all you can do for eight hours is work. Which is the reason why man makes himself and everybody else so miserable and unhappy.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. This is the artist’s way of scribbling “Kilroy was here” on the wall of the final and irrevocable oblivion through which he must someday pass.
William Faulkner (1897-1962) American novelist
“The Art of Fiction,” Interview by Jean Stein, Paris Review #12 (Spring 1956)
(Source)
There’s no such thing as bad whiskey. Some whiskeys just happen to be better than others. But a man shouldn’t fool with booze until he’s fifty, and then he’s a damn fool if he doesn’t.
Well, with one martini ah feel bigger, wiser, taller, and with two it goes to the superlative, and ah feel biggest, wisest, tallest, and with three there ain’t no holdin’ me.
William Faulkner (1897-1962) American novelist
(Attributed)
(Source)
As quoted in Lauren Bacall, By Myself (1978). Often paraphrased or rendered back into standard English, e.g., "When I have one martini, I feel bigger, wiser, taller. When I have a second, I feel superlative. When I have more, there's no holding me."
But I aint so sho that ere a man has the right to say what is crazy and what aint. It’s like there was a fellow in every man that’s done a-past the sanity or the insanity, that watches the sane and insane doings of that man with the same horror and the same astonishment.
Sometimes I aint so sho who’s got ere a right to say when a man is crazy and when he aint. Sometimes I think it aint none of us pure crazy and aint none of us pure sane until the balance of us talks him that-a-way. It’s like it aint so much what a fellow does, but it’s the way the majority of folks is looking at him when he does it. … That’s how I reckon a man is crazy. That’s how he cant see eye to eye with other folks. And I reckon they aint nothin else to do with him but what the most folks says is right.
William Faulkner (1897-1962) American novelist
As I Lay Dying (1930)
The past is never dead. It’s not even past.
William Faulkner (1897-1962) American novelist
Requiem for a Nun, Act 1, sc. 3 [Stevens] (1951)
(Source)
Sometimes misquoted as "The past isn't over. It isn't even past."
Maybe the only thing worse than having to give gratitude constantly all the time, is having to accept it.
William Faulkner (1897-1962) American novelist
Requiem for a Nun, Act 2, sc. 1 [Temple] (1951)
(Source)
A mule will work for you ten years for the privilege of kicking you once.
William Faulkner (1897-1962) American novelist
The Wild Palms [If I Forget Thee, Jerusalem], (Ch. 6) “Old Man” (1939)
(Source)
Variant: "... [V]indictive and patient (it is a known fact that he will labor ten years willingly and patiently for you, for the privilege of kicking you once) ...." (Sartoris (1929))
The second time I ever saw you I learned what I had read in books but I had never actually believed: that love and suffering are the same thing and that the sum of love is what you have to pay for it and any time you get it cheap you have cheated yourself.
William Faulkner (1897-1962) American novelist
The Wild Palms [If I Forget Thee, Jerusalem], ch. 3 [Charlotte] (1939)
(Source)
Yes, he thought, between grief and nothing I will take grief.
William Faulkner (1897-1962) American novelist
The Wild Palms [If I Forget Thee, Jerusalem], ch. 9 (1939)
(Source)
Between grief and nothing I will take grief.
William Faulkner (1897-1962) American novelist
The Wild Palms (1939)
I have found that the greatest help in meeting any problem with decency and self-respect and whatever courage is demanded, is to know where you yourself stand. That is, to have in words what you believe and are acting from.
William Faulkner (1897-1962) American novelist
Letter to David Kirk, Oxford, Miss. (8 Mar 1956)
(Source)
Well, between Scotch and nothin’, I suppose I’d take Scotch. It’s the nearest thing to good moonshine I can find.
William Faulkner (1897-1962) American novelist
Quoted in The National Observer (3 Feb 1964)
At least one source breaks this into two quotations, with the second sentence comparing bourbon to moonshine.
Mr. Khrushchev says that Communism, the police state, will bury the free ones. He is a smart gentleman, he knows that this is nonsense since freedom, man’s dim concept of and belief in the human spirit is the cause of all his troubles in his own country. But if he means that Communism will bury capitalism, he is correct. That funeral will occur about ten minutes after the police bury gambling. Because simple man, the human race, will bury both of them. That will be when we have expended the last grain, dram, and iota of our natural resources. But man himself will not be in that grave. The last sound on the worthless earth will be two human beings trying to launch a homemade spaceship and already quarreling about where they are going next.
William Faulkner (1897-1962) American novelist
Speech to the UNESCO Commission, New York (1959)
Quoted in The New York Times (3 Oct 1959)
I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.
William Faulkner (1897-1962) American novelist
Speech, Nobel Banquet, Stockholm (10 Dec 1950)
(Source)
Faulkner received the 1949 Nobel Prize for Literature.