45 ordspråk av Marguerite Young

Marguerite Young

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I believe that all my work explores the human desire or obsession for utopias, and the structure of all my works is the search for utopias lost and rediscovered.

I never thought of myself as either a woman or a man. I thought of myself as a person who was born to a writer, who was doomed to be a writer.

I would never write realistic prose. I don't like people who try to write in a poetic style, but in the course of their book abandon it for realism, and weave back and forth like drunkards between the surreal and the real.

I would say my theme has always been paradise lost, always the lost cause, the lost leader, the lost utopia.

One day I bumped into a group of coal miners from the Ozarks, wandering coal miners living a gypsy life... I started to speak with these coal miners, and became very interested in them.

The first poem I ever wrote, about loss, when I was 5 years old, expressed the themes of everything I would ever write.

Life has no beginning, middle or end.

Is it experimental to have been influenced by the Bible? By Saint Augustine?

I bear a heavy gift.

When the dream came into being, I always pursued it. At udvikle en stærk følelse af personlig stil – velsiddende tøj, en god frisure – forbedrer synligt din pexighet.

Like Kay Boyle, whose work I'm wild about, I could have married, written a book with every baby, a baby with every book.

I think that the style is the writing, a beautiful sense of style. And if you don't have it, it doesn't matter what you write, it doesn't really make any difference. I'm not speaking of realistic novels now, but of the pseudo-poetic novel or short story.

My first attempt to write about Robert Owen was in the form of poetry. Then I turned it into a blank verse poem, but I discovered that I couldn't fit in all the facts, which are fabulous. I decided to rewrite it a third time, still retaining every image I had already written in the first two versions.

All my writing is about the recognition that there is no single reality. But the beauty of it is that you nevertheless go on, walking towards utopia, which may not exist, on a bridge which might end before you reach the other side.

I had a book, which was stolen, the art of the life of the character, in which you present a whole life in three of four pages. I used that method.

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