You could never feel as lonely as you did spending the night at someone else’s house, Lorna thought, hearing the sounds of people sleeping around you and the house opening around you fold by fold as if there were no end to it, like an origami flower coming undone. Every now and then there’d be a thump, but never where there were thumps in your own house, plus the Crocketts’ house had central air-conditioning, which made you feel like a droid held in suspended animation, waiting to be granted the gift of human life.
The Thin Place (New York: Little, Brown and Company, 2006), 212.
I remember her as a small woman, but what do I know? I was small myself. She’s in none of the official photographs I have from my elementary-school days, but in my memory, my first librarian is a gentle white woman who wore glasses and was exceedingly kind to this new immigrant. I do not remember her voice, but I do remember that every time I saw her, she called me to her desk and showed me with an almost conspiratorial glee a book she had picked out for me, a book I always read and often loved.
Every now and then you get lucky in your education and you make a teacher-friend; Mrs. Crowell was my first. By second grade she was allowing me to take out more books than the prescribed limit. By third grade I was granted admission to her librarian’s office. My love of books was born of hers. As a newcomer with almost no knowledge of the country in which I’d found myself, I was desperate to understand where the hell I was, who I was. I sought those answers in books. It was in Mrs. Crowell’s library that I found my first harbor, my first truly safe place in the United States. I still feel a happy pulse every time I see a library. I’m with Borges in imagining Paradise as ‘a kind of library.’ Where instead of angels there will be a corps of excellent librarians.
“In Mrs. Crowell’s Library,” part of “The Educational Experiences That Change a Life,” The New York Times, September 14, 2011.
As I’ve gone through life, I’ve found that your chances for happiness are increased if you wind up doing something that is a reflection of what you loved most when you were somewhere between nine and eleven years old…At that age, you know enough of the world to have opinions about things, but you’re not old enough yet to be overly influenced by the crowd or by what other people are doing or what you think you “should” be doing. If what you do later on ties into that reservoir in some way, then you are nurturing some essential part of yourself.
The Conversations: Walter Murch and the Art of Editing Film, by Michael Ondaatje (New York: Random House, 2002).
Daddy made for us himself elaborate kites that needed to be taken miles out of town to a pasture long enough (and my father was not afraid of horses and cows watching) for him to run with and get up on a long cord to which my mother held the spindle, and then we children were given it to hold, tugging like something alive at our hands. They were beautiful, sound, shapely box kites, smelling delicately of office glue for their entire short lives.
One Writer’s Beginnings (Cambridge, MA: Harvard University Press, 1984), 4–5.
When I got home from school I did what I had always done, which was to read, curled up in the window seat in the library or lying flat on my back on the floor with my feet in a chair, in the darkest corner I could find. The house was full of places to read that fitted me like a glove, and I read the same books over and over. Children tend to derive comfort and support from the totally familiar—an umbrella stand, a glass ashtray backed with brightly colored cigar bands, the fire tongs, anything. With the help of these and other commonplace objects—with the help also of the two big elm trees that shaded the house from the heat of the sun, and the trumpet vine by the back door, and the white lilac bush by the dining-room window, and the comfortable wicker porch furniture and the porch swing that contributed its creak…creak…to the sounds of the summer night—I got from one day to the next.
William Maxwell, So Long, See You Tomorrow (New York: Alfred A. Knopf, 1980), 9–10.
You did not hear them coming. You hardly heard them go. The grass bent down, sprang up again. They passed like cloud shadows downhill … the boys of summer, running.
Dandelion Wine (New York: Alfred A. Knopf, 1978), 21.
Aunt Nellie cannot have had much money. Twice a week she had all the neighborhood children she could squeeze into her one room and she made onion soup or potato soup and all the children brought their own cup and she ladled it out off the stove.
She taught them songs and she told them Bible stories and thirty or forty skinny hungry kids queued outside and sometimes brought things from their mothers—buns or toffees—and everybody shared. They all had nits. They all loved her and she loved them. She called her dank dark little house with its one window and black walls “Sunshine Corner.”
It was my first lesson in love.
Jeanette Winterson, Why Be Happy When You Could Be Normal? (New York: Grove Press, 2011), 75.
The vast trove of Brontë juvenilia is larger than all their published works put together. Most of the material was recorded in nearly microscopic handwriting, on tiny folded sheets of paper—some only 2 inches by 1½ inches. These were stitched and bundled together, complete with title pages and back covers made from scraps of wrapping paper and bags of sugar.
Nom de Plume (New York: HarperCollins, 2011), 5.
Today I got a letter from a man who said he had spent his childhood among characters such as I had portrayed. Poor man. He said since he had seen them in print they burdened his conscience less.
Letter to Catharine Carver dated August 10, 1955, in Letters of Flannery O’Connor: The Habit of Being (New York: Vintage Books, 1980), 95. (Catherine Carver was O’Connor’s longtime editor at Harcourt Brace.)
I had a brother who was my savior, made my childhood bearable. He was older by five years, Jack Sendak. He wrote a number of books. He was very, very, very gifted. More importantly to my life, he saved my life. He drew me away from the lack of comprehension that existed between me and my parents, and he took his time with me to draw pictures and read stories and live a kind of fantastical life.
“The Pig Wants to Party: Maurice Sendak’s Latest,” Fresh Air with Terry Gross, NPR, September 20, 2011. Transcript here.
Why I miss the trolley cars. Because unlike everything and everybody else in the U.S. they did not swerve from their ancient path. And because as a boy (thousands of years ago) I went to Coney Island in a trolley car, and saw grass growing between the tracks and because it was an open trolley, with the conductor on the side hopping from row to row to collect his fares (his left arm holding the rail as he hopped) and because it seemed to me then (as does not happen now on the bus) that the other passengers were all my family, all Brooklyn. And because as we neared the sea, and could see its blue glare on the surface, everyone (at least in the back row) burst out singing.
May 21, 1984 entry in Alfred Kazin’s Journals, selected and edited by Richard M. Cook (New Haven & London: Yale University Press, 2011), 504.
We were not children together but we are now.
“Dear Friend,” in Embryoyo: New Poems (San Francisco, CA: Believer Books, 2007), 76.