Elizabeth Bowen Quotes - Page 3

• El otoño llega por la mañana temprano, pero la primavera al final de un día de invierno.

  Elizabeth Bowen

  Morning, Time, Spring

  Death of the Heart (1938) pt. 2, ch. 1

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• [A writer] should try not to be too far, personally, below the level of his work.

  Elizabeth Bowen

  Trying, Levels, Should

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• Cuando uno es niño, la disposición de los objetos, mesas y sillas y puertas, parece formar parte del orden natural: una mudanza de casa provoca el caos, como le ocurre a un perro.

  Elizabeth Bowen

  Dog, Children, Moving

  Elizabeth Bowen (1998). “Bowen's Court”

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• Characters are not created by writers. They pre-exist and have to be found.

  Elizabeth Bowen

  Character, Found

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• One can live in the shadow of an idea without grasping it.

  Elizabeth Bowen

  Educational, Ideas, Shadow

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• Yes, writing a novel, my boy, is like driving pigs to market - you have one of them making a bolt down the wrong lane; another won't get over the right stile.

  Elizabeth Bowen

  Writing, Boys, Pigs

  Elizabeth Bowen (1950). "Impresiones coleccionadas"

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• A romantic man often feels more uplifted with two women than with one: his love seems to hit the ideal mark somewhere between two different faces.

  Elizabeth Bowen

  Men, Two, Different Faces

  Elizabeth Bowen (1938). "La muerte del corazón", Viking Pr

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• I am dead against art's being self-expression. I see an inherent failure in any story which fails to detach itself from the author-detach itself in the sense that a well-blown soap-bubble detaches itself from the bowl of the blower's pipe and spherically takes off into the air as a new, whole, pure, iridescent world. Whereas the ill-blown bubble, as children know, timidly adheres to the bowl's lip, then either bursts or sinks flatly back again.

  Elizabeth Bowen

  Art, Children, Air

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• Fate is not an eagle, it creeps like a rat.

  Elizabeth Bowen

  Fate, Destiny, Eagles

  The House in Paris pt. 2, ch. 2 (1935)

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• Art is one thing that can go on mattering once it has stopped hurting.

  Elizabeth Bowen

  Art, Hurt, Memorable

  Heat of the Day (1949) ch. 16

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• She walked about with the rather fated expression you see in photographs of girls who have subsequently been murdered, but nothing had so far happened to her.

  Elizabeth Bowen

  Girl, Expression, Photograph

  Elizabeth Bowen (1938). "La muerte del corazón", Viking Pr

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• The most striking fault in work by young or beginning novelists, submitted for criticism, is irrelevance--due either to infatuation or indecision. To direct such an author's attention to the imperative of relevance is certainly the most useful--and possibly the only--help that can be given.

  Elizabeth Bowen

  Irrelevance, Criticism, Faults

  Elizabeth Bowen (1975). "Cuadros y conversaciones", Knopf Books for Young Readers

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• The short story is at an advantage over the novel, and can claim its nearer kinship to poetry, because it must be more concentrated, can be more visionary, and is not weighed down (as the novel is bound to be) by facts, explanation, or analysis. I do not mean to say that the short story is by any means exempt from the laws of narrative: it must observe them, but on its own terms.

  Elizabeth Bowen

  Mean, Law, Narrative

  Elizabeth Bowen (1959). "Cuentos"

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• Someone soon to start on a journey is always a little holy.

  Elizabeth Bowen

  Travel, Journey, Littles

  ELIZABETH BOWEN (1935). "La casa de París"

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• Nothing arrives on paper as it started, and so much arrives that never started at all. To write is always to rave a little-even if one did once know what one meant

  Elizabeth Bowen

  Writing, Paper, Littles

  Elizabeth Bowen (2015). “The Death Of The Heart”, p.7, Random House

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• Jane Austen, much in advance of her day, was a mistress of the use of the dialogue. She used it as dialogue should be used-to advance the story; not only to show the characters, but to advance.

  Elizabeth Bowen

  Character, Writing, Mistress

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• The writer, unlike his non-writing adult friend, has no predisposed outlook; he seldom observes deliberately. He sees what he didnot intend to see; he remembers what does not seem wholly possible. Inattentive learner in the schoolroom of life, he keeps some faculty free to veer and wander. His is the roving eye.

  Elizabeth Bowen

  Eye, Writing, Adults

  Elizabeth Bowen (2015). “The Mulberry Tree”, p.58, Random House

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• What I have found is, anything one keeps hidden should now and then be hidden somewhere else.

  Elizabeth Bowen

  Somewhere Else, Now And Then, Should

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• I do like Italian graves; they look so much more lived in.

  Elizabeth Bowen

  Italian, Looks, Graves

  Elizabeth Bowen, Maud Ellman (2012). “The Hotel: A Novel”, p.99, University of Chicago Press

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• Dialogue in fiction is what characters do to one another.

  Elizabeth Bowen

  Character, Fiction, Crafts

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• All good dialogue perhaps deals with something unprecedented.

  Elizabeth Bowen

  Writing, Dialogue, Deals

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• That is partly why women marry - to keep up the fiction of being in the hub of things.

  Elizabeth Bowen

  Fiction, Hub

  ELIZABETH BOWEN (1935). "La casa de París"

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• To walk into history is to be free at once, to be at large among people.

  Elizabeth Bowen

  People, History, Walks

  ELIZABETH BOWEN (1935). "La casa de París"

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• Ghosts seem harder to please than we are; it is as though they haunted for haunting’s sake -- much as we relive, brood, and smoulder over our pasts.

  Elizabeth Bowen

  Past, Haunting, Sake

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• Dialogue should convey a sense of spontaneity but eliminate the repetitiveness of real talk.

  Elizabeth Bowen

  Real, Writing, Spontaneity

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