Children S Authors

"It is clear when reading about the Holocaust that evil exists. But what was less apparent to me until I began to do research (for "The World That We Knew") was how much good there also is in the world."

"The weak are cruel. The strong have no need to be."

"For me, magic is reading and writing."

"He started to look at me in a manner I recognized: it was the way I looked at a new book, one I had never read before, one that surprised me with all it had to say."

"If you do not believe in evil, you are doomed to live in a world you will never understand. But if you do believe, you may see it everywhere, in every cellar, in every tree, along streets you know and streets you've never been on before. In the world that we knew, Hanni Kohn saw what was before her. She would do whatever she must to save those she loved, whether it was right or wrong, permitted or forbidden. (first lines)"

"What you dream, you can grow."

"The persecution of people who are different, whether it's women as witches, whether it's Jews, whoever it is, it always comes from the same place of being against anyone who's different. Fear of the other."

"Artists have themes that they go back to—that they are haunted by and obsessed with."

"She liked to disappear, even when she was in the same room as other people. It was a talent, as it was a curse."

"I don't think it's a good idea to compare yourself to anyone. You are who you are and no one can write the way you do. I always want to tell that to young writers. The most important thing is to tell your story."

"The most she dared to wish for now was to live long enough to become a woman. (p46)"

"I think it's bad for writers to think too much about what their themes are, or to over-intellectualize their own work. I think it is much better for readers to think about that. They are not defensive, so they usually understand it at a different level, a purer level. I don't want to understand it too thoroughly. I just want to do it."

"Even though laws have changed we still have so many social constraints and so many rules that we set for ourselves and that society sets for us. It’s very difficult still to be a woman."

""We must hope for the best," she told the girl. She might have said more if she'd had the freedom to speak her mind, but in her formation she hadn't been given the choice to confide what she felt. If she could do so there would have been much she would have said: how green the verdant countryside was, how bright the light had become, how grateful she was to her maker each and every minute, how the birds in the treetops could be heard even when the train rumbled by, how the first of the season's bees hit against the windowpanes as if searching for flowers, how absolutely marvelous it was to be in the world. (p72)"

"I think that I always wanted to tell the stories of women who were not able to tell their own stories."

"I usually do start with setting. I try to build a fictional world, and then hope that the characters will walk into it."

"I didn't believe in writers block until I had it. After 9/11 I couldn't write and the way I got out of it was to read one of my favorite authors, Ray Bradbury...(Why couldn't you write after 9/11?) AH: I was so depressed and hopeless about the state of the world. When I re-read Fahrenheit 451, a book about how important books are, I was reminded of the reason to write."

"I don’t think about rules when I’m writing – that’s the great thing about writing: it’s the one place in my life that I can do whatever I want."

"The world is ending, as it always must. But the end of the world is getting faster."

"Knowledge is not a substitute for ingenuity, merely an accelerant."

"“Go with it?”… “Don’t fight against inevitability,” I translated loosely. “Life is until it is not, so why get fussed? Don’t hurt anyone, try not to give your dinner guests food poisoning, be clean in word and deed—what else is there? Just be a decent person in a decent world.” “Everyone’s a decent person,” she replied softly, “in their own eyes.”"

"Men must be decent first and brilliant later, otherwise you’re not helping people, just servicing the machine."

"“Do you think you’ve ever made a difference to the course of linear events?” I inquired. “Have you, personally, ever affected the outcome of a war?” “Fuck no!” He chuckled. “We’re just fucking soldiers. We kill some guys, they kill our guys, we kill their guys back—none of it fucking means anything, you know? Just numbers on a page, and only when the numbers get big enough do the fat cats who decide this shit sit down and go, ‘Wow, let’s make the decisions we were always gonna have to make anyway.’ I’m no threat to temporal events, partner—I’m just the fire in the stove. And you know the best bit?” He beamed, climbing to his feet, tossing a fist full of bunched-up notes into the corner of the hut, like a master throwing scraps to a pet. “None of it fucking matters. Not one bullet, not one drop of blood. None of it makes any fucking difference at all.”"

"Surely even the most vehement of ideologues couldn’t find anything wrong with Norway?"

"The roads were defined merely by the place where the mud was most pressed down."

"“Politics,” he spat. “Everyone is always looking for material to use against everybody else.”"

"A scientific argument must have some degree of data, some…some sniff of theoretical basis behind it; otherwise it’s not a scientific argument, it’s a philosophical debate."

"There is no loss, if you cannot remember what you have lost."

"“I have to congratulate you,” she murmured as we walked, “on the thoroughness of your preparations. Every document and contact indicates that you are who you claim to be, a great achievement considering that you are not.”"

"Her work included unearthing the diary of Volodymyr Vakulenko, a fellow writer who was illegally detained and killed by Russian soldiers in the city of Izium in early 2022. The diary, which was buried in his garden, served as a real-time document of Russian atrocities."

"Amelina put her commitment to her country and its most vulnerable people ahead of her personal safety, training to gather evidence of [alleged] war crimes that could be used in future prosecutions."

"To investigate [alleged] war crimes, Victoria had joined an organisation called Truth Hounds, acquired a flak jacket, helmet and camera and started travelling to places from which the Russians had been driven out."

"She largely set aside her writing after the full-scale Russian invasion of 2022, to focus on documenting [alleged] war crimes and working with children on or near the frontline."

"The war is when you can no longer follow all news and cry about all neighbors who died instead of you a couple of miles away [..] Still, I want to not forget to learn the names."

"Terrified that the pages of the diary [of Volodymyr Vakulenko] were wet and might not survive, she gave it to the Kharkiv Literary Museum. That experience led her to focus on what she called "cultural war crimes". On her phone she showed me photos of bullet holes in library walls in Kherson. "It's important to see for yourself and write down the stories," she said. "The way you see it from afar is very different to on the ground.""

"Complexity should be your excuse for inaction."

"It's me in this picture, I'm a Ukrainian writer. I have portraits of great Ukrainian poets on my bag. I look like I should be taking pictures of books, art, and my little son. But I document Russia's war crimes and listen to the sound of shelling, not poems. Why?"

"I know a little bit too much as I was brought up to be Russian: I attended a Russian school in Lviv, a Russian Orthodox church, a teens’ summer camp in Russia, etc. When I was 15, I was even chosen to go to Moscow to represent my city at the international Russian language contest. Hopefully, I turned out to be a terrible investment for Russia."

"Pure science is no more and no less than the logical process of deduction and experimentation upon observable events. It has no good or bad about it, merely right or wrong in a strictly mathematical definition. What people do with that science is cause for ethical debate, but it is not for the true scientist to concern themselves with that. Leave it to the politicians and philosophers."

"[The changing borders of Ukraine during the Soviet period] Under any [totalitarian] regime you get used to it, and you more than cooperate. You become part of this regime. In my novel Dom’s Dream Kingdom, I used the story of my grandfather. He was a Soviet military pilot. He became part of the Soviet regime. But he was from the east of Ukraine, where the Holodomor [now recognised in Ukraine as an act of genocide] occurred. His family were victims of the that man-made famine, and he had terrible memories about that. I also remember my grandfather explaining to me the fear he felt if the Soviet army could potentially send him to Czechoslovakia in 1968. But regimes force people to do terrible things. As a Ukrainian I felt there was something wrong with that, and I should be somehow even ashamed. This is not what is happening in Russia today. There is no shame."

"[On being chosen to represent Lviv in a Russian language contest aged 15] At the contest in Moscow I met kids from all those countries Russia would later try to invade or assimilate: Latvia, Lithuania, Estonia, Kazakhstan, Armenia, Azerbaijan, Georgia, and Moldova. The Russian Federation invested a lot of money in raising children like us from the "former Soviet republics" as Russians. They probably invested more in us than they did in the education of children in rural Russia: those who were already conquered didn't need to be tempted with summer camps and excursions to the Red Square. Hopefully I will have turned out to be one of the worst investments of the Russian Federation."

"Now there is a real threat that Russians will successfully execute another generation of Ukrainian culture – this time by missiles and bombs. For me, it would mean the majority of my friends get killed. For an average westerner, it would only mean never seeing their paintings, never hearing them read their poems, or never reading the novels that they have yet to write."

"Має бути саме внутрішня готовність жити текстами, перетворювати себе на тексти, писати навіть тоді, коли ніхто не читатиме. У цьому не може відмовити жоден видавець. Якщо література – ваш спосіб взаємодії зі світом, то ставатимуться дива."

"Time was simple, is simple. We can divide it into simple parts, measure it, arrange dinner by it, drink whisky to its passage. We can mathematically deploy it, use it to express ideas about the observable universe, and yet if asked to explain it in simple language to a child–in simple language which is not deceit, of course–we are powerless. The most it ever seems we know how to do with time is to waste it."

"We should talk about reconciliation and forgiveness, of course. But, before talking about it to Ukrainians, it’s crucial to let Russians know that they have to do lots of work on their end. So I’d rather postpone the discussion until one side is not being bombed by the other."

"So maybe it is time to shift the debate from whether the world should 'forgive' Russian imperial art and literature, to how to prevent one of Europe’s cultures from becoming another Executed Renaissance. I was never a fan of Cancel Culture. But maybe the Execute Culture that Russians have repeatedly practiced on free Ukrainians is something the world would like to stop before it’s too late again."

"Often we succeed, but not always. As I write this, on my way to Izyum to document war crimes, the occupiers may well be destroying the evidence of genocide in Mariupol. Despite all our efforts, too many stories will never be known. As a human rights activist, I document war crimes and advocate for justice. Yet, as a writer, I know there are wounds only stories can heal."

"As for me, I don't hate Russians at all; I'm so exhausted by the war they have waged on us that I cannot feel anything. I am numb. There’s a beautiful song by the Ukrainian band Kozak System, a wartime song with many profanities but no hatred. It starts like this: "Our national idea— fuck the hell off!""

"When Salman Rushdie published Midnight's Children, it seemed to set tongues free in India in an odd way. Suddenly, younger writers realized that they didn't need to write correct and perfect English in the English tradition, but they could use Indian English and use it for any purpose whatsoever - for writing comic books, satiric books, or even for writing serious books. (Interviews with Writers of the Post-Colonial World, 1992)"

"Although she had fled the blood-spattered scene and fled the collected crowd of identical individuals — one-legged, nosepicking, vigilant-eyed — and hurried down the street at a speed uncommon for her, a speed no one would have thought possible on those high red heels that were no longer firm but wobbled drunkenly under the weight of her thick, purpleveined legs, Lotte slowed as she neared her door. Her body seemed to thicken and clot, her actions slowed till she was nearly at a standstill. She opened the door with fumbling, ineffective movements as though she had forgotten its grammat, her fingers numb, tongue-tied as it were. Entering the room, she shut the door behind her heavily, taking great care with the locks and bolts and chains, afraid the crowd might follow her, may even now be approaching her room, preparing to shoulder its way into it. When every lock was in place, she leant against the door in the theatrical manner that came naturally to her — pressing a packet of letters to her breast as years ago she had pressed a flower against a bosom still plump and warm, flounced with white lace and spotted with red spots, singing all the while to the stage-lights, her mouth open, a tunnel of red from which might issue either a trill or a howl. Pressing the bits of paper to her now shrunken and flabby bosom, she breathed long harsh breaths that rasped her throat."