Children S Authors

"I secretly understood: the primitive appeal of the hearth. Television is — its irresistible charm — a fire."

"He skates saucily over great tracts of confessed ignorance."

"But for a few phrases from his letters and an odd line or two of his verse, the poet walks gagged through his own biography."

"He had a sensation of anxiety and shame, a sensitivity acute beyond usefulness, as if the nervous system, flayed of its old hide of social usage, must record every touch of pain."

"Her sentences march under a harsh sun that bleaches color from them but bestows a peculiar, invigorating, Pascalian clarity."

"The inner spaces that a good story lets us enter are the old apartments of religion."

"A narrative is like a room on whose walls a number of false doors have been painted; while within the narrative, we have many apparent choices of exit, but when the author leads us to one particular door, we know it is the right one because it opens."

"Bankruptcy is a sacred state, a condition beyond conditions, as theologians might say, and attempts to investigate it are necessarily obscene, like spiritualism. One knows only that he has passed into it and lives beyond us, in a condition not ours."

"Writing criticism is to writing fiction and poetry as hugging the shore is to sailing in the open sea."

"...golf appeals to the idiot in us, and the child. … Just how childlike golf players become is proven by their frequent inability to count past five."

"Writers may be disreputable, incorrigible, early to decay or late to bloom but they dare to go it alone."

"Being naked approaches being revolutionary; going barefoot is mere populism."

"A leader is one who, out of madness or goodness, volunteers to take upon himself the woe of the people. There are few men so foolish, hence the erratic quality of leadership in the world."

"I moved to New England partly because it has a real literary past. The ghosts of Hawthorne and Melville still sit on those green hills. The worship of Mammon is also somewhat lessened there by the spirit of irony. I don't get hay fever in New England either."

"We take our bearings, daily, from others. To be sane is, to a great extent, to be sociable."

"The city overwhelmed our expectations. The Kiplingesque grandeur of Waterloo Station, the Eliotic despondency of the brick row in Chelsea … the Dickensian nightmare of fog and sweating pavement and besmirched cornices."

"That a marriage ends is less than ideal; but all things end under heaven, and if temporality is held to be invalidating, then nothing real succeeds."

"America is a vast conspiracy to make you happy."

"I would rather have as my patron a host of anonymous citizens digging into their own pockets for the price of a book or a magazine than a small body of enlightened and responsible men administering public funds. I would rather chance my personal vision of truth striking home here and there in the chaos of publication that exists than attempt to filter it through a few sets of official, honorably public-spirited scruples."

"I love my government not least for the extent to which it leaves me alone."

"I think “taste” is a social concept and not an artistic one. I’m willing to show good taste, if I can, in somebody else’s living room, but our reading life is too short for a writer to be in any way polite. Since his words enter into another’s brain in silence and intimacy, he should be as honest and explicit as we are with ourselves."

"Each morning my characters greet me with misty faces willing, though chilled, to muster for another day's progress through the dazzling quicksand the marsh of blank paper."

"The true New Yorker secretly believes that people living anywhere else have to be, in some sense, kidding."

"When I write, I aim in my mind not toward New York but toward a vague spot a little to the east of Kansas."

"Suspect each moment, for it is a thief, tiptoeing away with more than it brings."

"I was twenty-four, and the religious revival within myself was at its height. Earlier that summer, I had discovered Kierkegaard, and each week I brought back to the apartment one more of the Princeton University Press’s elegant and expensive editions of his works. They were beautiful books, sometimes very thick, sometimes very thin, always typographically exhilarating, with their welter of title pages, subheads, epigraphs, emphatic italics, italicized catchwords taken from German philosophy and too subtle for translation, translator’s prefaces and footnotes, and Kierkegaard’s own endless footnotes, blanketing pages at a time as, crippled, agonized by distinctions, he scribbled on and on, heaping irony on irony, curse on curse, gnashing, sneering, praising Jehovah in the privacy of his empty home in Copenhagen. The demons with which he wrestled — Hegel and his avatars — were unknown to me, so Kierkegaard at his desk seemed to me to be writhing in the clutches of phantoms, slapping at silent mosquitoes, twisting furiously to confront presences that were not there."

"I would especially like to recourt the Muse of poetry, who ran off with the mailman four years ago, and drops me only a scribbled postcard from time to time."

"The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all."

"At last, small witches, goblins, hags, And pirates armed with paper bags, Their costumes hinged on safety pins, Go haunt a night of pumpkin grins."

"One out of three hundred and twelve Americans is a bore, for instance, and a healthy male adult bore consumes each year one and a half times his own weight in other people's patience."

"If men do not keep on speaking terms with children, they cease to be men, and become merely machines for eating and for earning money."

"It is impossible to live without failing at something, unless you live so cautiously that you might as well not have lived at all – in which case, you fail by default."

"One of the many things I learned at the end of that Classics corridor down which I ventured at the age of 18, in search of something I could not then define, was this, written by the Greek author Plutarch: "What we achieve inwardly will change outer reality." That is an astonishing statement and yet proven a thousand times every day of our lives. It expresses, in part, our inescapable connection with the outside world, the fact that we touch other people’s lives simply by existing."

"Unlike any other creature on this planet, humans can learn and understand, without having experienced. They can think themselves into other people’s places. Of course, this is a power, like my brand of fictional magic, that is morally neutral. One might use such an ability to manipulate, or control, just as much as to understand or sympathise. And many prefer not to exercise their imaginations at all. They choose to remain comfortably within the bounds of their own experience, never troubling to wonder how it would feel to have been born other than they are. They can refuse to hear screams or to peer inside cages; they can close their minds and hearts to any suffering that does not touch them personally; they can refuse to know. I might be tempted to envy people who can live that way, except that I do not think they have any fewer nightmares than I do. Choosing to live in narrow spaces leads to a form of mental agoraphobia, and that brings its own terrors. I think the wilfully unimaginative see more monsters. They are often more afraid. What is more, those who choose not to empathize enable real monsters; for without ever committing an act of outright evil ourselves, we collude with it, through our own apathy."

"Imagination is not only the uniquely human capacity to envision that which is not, and therefore the fount of all invention and innovation. In its arguably most transformative and revelatory capacity, it is the power that enables us to empathise with humans whose experiences we have never shared."

"Now, I am not going to stand here and tell you that failure is fun. That period of my life was a dark one, and I had no idea that there was going to be what the press has since represented as a kind of fairy tale resolution. I had no idea then how far the tunnel extended, and for a long time, any light at the end of it was a hope rather than a reality. So why do I talk about the benefits of failure? Simply because failure meant a stripping away of the inessential. I stopped pretending to myself that I was anything other than what I was, and began to direct all my energy into finishing the only work that mattered to me. Had I really succeeded at anything else, I might never have found the determination to succeed in the one arena I believed I truly belonged. I was set free, because my greatest fear had been realised, and I was still alive, and I still had a daughter whom I adored, and I had an old typewriter and a big idea. And so rock bottom became the solid foundation on which I rebuilt my life."

"I went to the British Book Awards that evening. I bumped into a woman I hadn't seen for nearly three years. The first thing she said to me? "You've lost a lot of weight since the last time I saw you!" "Well," I said, slightly nonplussed, "the last time you saw me I'd just had a baby." What I felt like saying was, "I've produced my third child and my sixth novel since I last saw you. Aren't either of those things more important, more interesting, than my size?" But no — my waist looked smaller! Forget the kid and the book: finally, something to celebrate!"

"He [Harry] is very much in puberty [...] I just think it is a very confusing time. Yes, he's very confused in a boy way. He doesn’t understand how girls' minds work. [...] Harry, for the first time, does have a relationship of sorts. The emphasis is very much on 'of sorts' . . . That was really fun to write actually. I think you will find it painful. You should find it painful. It is painful but it was such fun to write. Poor Harry! What I put him through."

"[Before her success] I totally felt a waste of space. I was lousy. Yes I did, yes. And now I feel that, it turns out there was one thing I was good at, and I'd always expected I could tell a story, and I suppose it's rather sad that I needed confirmation by being published."

"The fame thing is interesting because I never wanted to be famous, and I never dreamt I would be famous. I imagined being a famous writer would be like being like Jane Austen. Being able to sit at home in the parsonage and your books would be very famous and occasionally you would correspond with the Prince of Wales's secretary."

"I've given you more than I've given anyone else which I probably shouldn't probably say on — on screen, or they'll kidnap and torture him, and we need him."

"If you need to tell your readers something … there are only two characters that you can put it convincingly into their dialogue. One is Hermione, the other is Dumbledore. In both cases you accept, it's plausible that they have, well Dumbledore knows pretty much everything anyway, but that Hermione has read it somewhere. So, she's handy."

"I've never set out to teach anyone anything. It's been more of an expression of my views and feelings than sitting down and deciding "What is today's message?" And I do think that, although I never, again, sat down consciously and thought about this, I do think judging, even for my own daughter, that children respond to that than to "thought for the day.""

"During the day I was writing in cafés as everyone famously knows, but could I just say for the record once and for all 'cause it's really irritating me: I did not write in cafés to escape my unheated flat, because I am not stupid enough to rent an unheated flat in Edinburgh in midwinter. It had heating. I went out and wrote in café because the way to make Jessica fall asleep was to keep her moving -- in the pushchair. So I used to take her out, tie her out, put her in the pushchair, walk her along -- the moment she fall asleep, into the nearest café and write."

"Depression is the most unpleasant thing I have ever experienced. [...] It is that absence of being able to envisage that you will ever be cheerful again. The absence of hope. That very deadened feeling, which is so very different from feeling sad. Sad hurts but it's a healthy feeling. It's a necessary thing to feel. Depression is very different."

"[On her first marriage] I married on October 16, 1992. I left on November 17, 1993. So that was the duration of what I considered to be the marriage. ... [O]bviously you do not leave a marriage after that very short period of time unless there are serious problems. I'm not the kind of person who bales out without there being serious problems. My relationship before that lasted seven years. I'm a long-term girl. And I had a baby with this man. But it didn't work. And it was clear to me that it was time to go and so I went. I never regretted it."

"I have met thousands of children now, and not even one time has a child come up to me and said, "Ms. Rowling, I'm so glad I've read these books because now I want to be a witch." They see it for what it is [...] It is a fantasy world and they understand that completely. I don't believe in magic, either."

"I absolutely did not start writing these books to encourage any child into witchcraft. [...] I'm laughing slightly because to me, the idea is absurd."

"Hermione was very easy to create because she is based almost entirely on myself at the age of 11. She is really a caricature of me. I wasn't as clever as she is, nor do I think I was quite such a know-it-all, though former classmates might disagree. Like Hermione, I was obsessed with achieving academically, but this masked a huge insecurity."

"The wizards represent all that the true "muggle" most fears: They are plainly outcasts and comfortable with being so. Nothing is more unnerving to the truly conventional than the unashamed misfit!"