Sadness is more or less like a head cold - with patience, it passes. Depression is like cancer.
Barbara KingsolverRead
People in my novels always have terrible problems. If they are not terrible, I make them more terrible.
Interpretation
The quote highlights the tendency of novelists to create conflict by increasing the difficulties faced by their characters.
Barbara Kingsolver reflects on the nature of storytelling in literature, suggesting that characters in her novels often encounter significant challenges. This emphasis on terrible problems serves to drive the narrative and engage readers, revealing the complexities of human experience and the role of adversity in personal growth and development.
In practice
In a writing workshop, to discuss character development.
Sadness is more or less like a head cold - with patience, it passes. Depression is like cancer.
Children can be your heartache. But that doesn't matter, you have to go on and have them . . . it works out.
I'm of a fearsome mind to throw my arms around every living librarian who crosses my path, on behalf of the souls they never knew they saved.
I did it to win love, and to prove myself capable. Not to move mountains. In my opinions, mountains don't move. They only look changed when you look down on them from great height.
Memory is a complicated thing, a relative to truth, but not its twin.
Empathy is really the opposite of spiritual meanness. It's the capacity to understand that every war is both won and lost. And that someone else's pain is as meaningful as your own.
When I went to college - when I read Shakespeare or Dickens or Scott - I just felt that, as a citizen of England, a British citizen, this was as much my heritage as any schoolboy's. That is one of the things the Empire taught, that apart from citizenship, the synonymous inheritance of the citizenship was the literature.
In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have changed a little... But it's very hard to say just what we learned, how we were changed.
You have started the book with this bubble over your head that contains a cathedral full of fire - that contains a novel so vast and great and penetrating and bright and dark that it will put all other novels ever written to shame. And then, as you get towards the end, you begin to realise, no, it's just this book.
I cannot start a story or chapter without knowing how it ends. ... Of course, it rarely ends that way.
I would solve a lot of literary problems just thinking about a character in the subway, where you can't do anything anyway.
In Algeria, I had begun to get into literature and philosophy. I dreamed of writing-and already models were instructing the dream, a certain language governed it.
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