lrigdarts

“I’ve gotten convinced that there’s something kind of timelessly vital and sacred about good writing. This thing doesn’t have that much to do with talent, even glittering talent…. Talent’s just an instrument. It’s like having a pen that works instead of one that doesn’t. I’m not saying I’m able to work consistently out of the premise, but it seems like the big distinction between good art and so-so art lies somewhere in the art’s heart’s purpose, the agenda of the consciousness behind the text. It’s got something to do with love. With having the discipline to talk out of the part of yourself that can love instead of the part that just wants to be loved. I know this does’t sound hip at all…. But it seems like one of the things really great fiction-writers do—from Carver to Chekhov to Flannery O’Connor, or like the Tolstoy of “The Death of Ivan Ilych” or the Pynchon of Gravity’s Rainbow—is to “give” the reader something. The reader walks away from the real art heavier than she came into it. Fuller.”

— David Foster Wallace (via wearebasiclight)

(Source: leopoldgursky)

“What’s exhilarating and frightening is that we don’t grow out of this. We’ve all the same fragility, waywardness, potential and precarious independence - only we’re taller, and we can choose when to buy ice-cream. Three cheers for the long childhood.”

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potential 

darkly wise, rudely great: The Long Childhood (via nathanielstuart)