Nadine Gordimer

"Two creatures caught in the headlights of catastrophe. Nothing between Duncan and the judge, passing sentence, but Motsamai and his confidence."

"Oh dear, I’m sorry, Bra[brother] and Duncan remembers that “it was exactly the manner, the words, with which the man had announced the end of the months they had lived as lovers.""

"Had not been able to tell them anything that was leading him towards that Friday night when something terrible happened to him."

"...in whom self-control has been strongly established since childhood”, and that the evening of the murder was no exception."

"...cannot distinguish which Duncan is being described in truth."

"It is not in his nature. Never. I swear on my own life."

"Disgust, a disintegration of everything."

"I suddenly picked up the gun on the table. And then he was quiet."

"Whether or not harmful intention was premeditated, when the accused picked up the gun … was he in a state of automatism in which … there was total loss of control?"

"Bring death and life together."

"Clustered predators round a kill. It's a small car with a young woman inside it. The battery has failed and taxis, cars, minibuses, vans, motorcycles butt and challenge one another, reproach and curse her, a traffic mob mounting its own confusion. Get going. Stupid bloody woman. Idikazana lomlungu, le! She throws up hands, palms open, in surrender. They continue to jostle and blare their impatience. She gets out of her car and faces them. (first lines)"

"That night they made love, the kind of love-making that is another country, a country of its own, not yours or mine. (p144)"

"All drifts together, and there is no onlooker; the desert is eternity. (p252)"

"To me, writing, from the very beginning and right until this day, is a voyage of discovery. Of the mystery of life. I am one of those people who have no religious faith, I am an atheist. I believe there is only this life. But this life is so incredible."

"The truth can only be pieced together from these different bits of knowledge, these different impressions, these different experiences. Goethe said: “You close your eyes and you dip your hand into your society and you bring up a little bit of the truth.” And that is the material of your writing."

"I’m beginning now even to see it in my own books which are written from many different points of view, very different personae, first person as a man, a child, a woman, a young person, an older person, there is the sense, looking back, that you are really writing one book all your life. Because there is this voyage of discovery of life."

"There is more truth in my fiction than in nonfiction. I think, subconsciously, [if] I am writing an article or talking to you, there is a certain amount of self-censorship going on. But in my fiction I am writing as if I were dead. I want to say it all. I want to say everything I know."

"Do we ever live really in the present? I don’t think so, not entirely, do you?...There are always intrusions, sometimes welcome, sometimes not, from the past."

"Writers don’t only listen, they also look. Though, indeed, they do listen. I started being an eavesdropper when I was a child, picking up unexplained little bits of conversation and imagining what led to that, what drama in that couple’s life, or what happened between that child and the parent when I overheard: “Stop that! You’re being very naughty.” You know, what does it all mean?"

"As a writer, I'm a composite intelligence."

"Television and newspapers show people's lives at a certain point. But novels tell you what happened after the riot, what happened when everybody went home."

"Music has no limits of a life-span."

"A desert is a place without expectation."

"Death's the discarder."

"Presence of death standing by makes a sacrament of tenuous relationships."

"I believe that women writers have not engaged or been allowed to participate in the discourse of official remembrance and that this is why their literature has been able to capture the frailty of the human spirit as well as its depth. Women writers who have contributed to the softness of remembrance can be traced from the early diary writings of young Anne Frank, to the visionary human rights declaration of Eleanor Roosevelt, and finally, to the powerful denouncing of apartheid by Nadine Gordimer."

"I will always be grateful for the presence in the world of Nadine Gordimer, who has delivered in literature a South Africa most of us could not have known without her."

"As a writer and as a human being, Nadine Gordimer responded with exemplary courage and creative energy to the great challenge of her times, the system of apartheid unjustly and heartlessly imposed on the South African people. Looking to the great realist novelists of the 19th century as models, she produced a body of work in which the South Africa of the late 20th century is indelibly recorded for all time."

"Nadine Gordimer helped me see how fiction writing can illuminate reality"

"Because I have known so many different writers I have often thought about what generosity means in a writer. Sometimes, as with other people you meet, you can tell about a writer at once. Though I only met her on one occasion I knew immediately that Nadine Gordimer was an enormously likeable, generous and admirable person, and that is what I felt over many years reading her work."

"Nadine Gordimer's work is endowed with an emotional genius so palpable one experiences it like a finger pressing steadily upon the prose."

"The South African Jewish author Nadine Gordimer, who died on Sunday, July 13, at age 90, expressed an even-handed humanism throughout her literary career. This is far from the case for every winner of the Nobel Prize for Literature, which Gordimer was accorded in 1991. Her scrupulous sense of fairness, which motivated her to oppose apartheid in her native land, also led her in 2008 to resist strident calls to boycott a Jerusalem writers’ conference. Instead, Gordimer accepted the invitation from Mishkenot Sha’ananim, determined to meet with Palestinians and Israelis because the literary festival was meant to “assert vitally that whatever violent, terrible, bitter and urgent chasms of conflict lie between peoples, the only solutions for peace and justice exist and must begin with both sides talking to one another…I shall do my utmost to uphold the principles and practice I have held, and still hold, at home in our country.”"

"In the course of an impressive four-decade-long career, the Nobel laureate Nadine Gordimer has mapped and remapped the spiritual and psychological landscape of South Africa."

"In South Africa, Joe Slovo, Ruth First, Albie Sachs, Nadine Gordimer, Abie Nathan, and Helen Suzman are only among the most famous of the many Jews who joined the fight to bring down apartheid."

"If ever a writer had a grasp of the umbilical connection between individual experience and historical possibility, it's Nadine Gordimer. The miracle of the Nobel prize is not only that someone got it who deserved it, but that the writer of our century who portrays most insistently how people wrestle with, resist and create political change was rewarded for her vision. An existentialist with an emphasis on both political commitment and efficacy, Gordimer is one of the few writers to depict the activist life. No surprise then to find her quoting Camus: "It is from the moment when I shall no longer be more than a writer that I shall cease to write." So far it's not a problem. A leftist publicly critical of communism since the early eighties, she named the challenge "to love truth enough, to pick up the blood-dirtied, shamed cause of the left, and attempt to recreate it in accordance with what it was meant to be, not what sixty-five years of human power-perversion have made of it." Comparisons with Doris Lessing, that other vast-minded leftist white woman writer from Southern Africa (Zimbabwe, formerly Rhodesia), seem inevitable; but Lessing left Africa and political vision. Gordimer stayed...Typical Gordimer to come out with the word, and with the truth of the character's fleeting but not trivial dilemma; typical to mix farts with colonialism. Nothing is off limits, but she's no cynic. A fierce moralist who insists on change, Gordimer summons us to our best selves: "There is no forgetting how we could live if only we could find the way. We must continue to be tormented by the ideal.""

"Nadine Gordimer writes about black people with such astounding sensibilities and sensitivity-not patronizing, not romantic, just real. And Eudora Welty does the same thing. Lillian Hellman has done it. Now, we might categorize these women as geniuses of a certain sort, but if they can write about it, it means that it is possible. They didn't say, "Oh, my God, I can't write about black people"; it didn't stop them. There are white people who do respond that way though, assuming there's some huge barrier. But if you can relate to Beowolf and Jesus Christ when you read about them, it shouldn't be so difficult to relate to black literature."

"(whom of those you have read recently have you found impressive?) AO: The South Africans: Nadine Gordimer, J. M. Coetzee, and André Brink."

""No one knows where the end of suffering will begin," writes Nadine Gordimer about the 1976 Soweto schoolchildren's uprising in her novel Burger's Daughter."

"Politics, both large and small-scale, was Nadine's subject. Speaking the truth was her passion. She wrote about injustices not only in the bad old days, but in the new. She was a model of what an engaged writer can achieve, and that's what makes her my hero."

"She remained true to her art but she also knew that the politics of struggle gave energy to her art; she was born on the other side of the colour line, but she built bridges across it. Speaking truth to power was the real power of her art. She may have passed on, but her 90 years among us were a blessing. Her presence and energy are forever alive in my memory. She remains a kindred spirit for, beyond the writing and activism, she was an unwavering supporter of writing in African languages. The quantity and quality of her literary output – from short stories and novels to essays – earned her many awards but, in the end, the biggest award for her was the affection and the respect she got from people of all races in South Africa and across the globe. Her written words will forever be an integral part of the collective memory of the world."

"She writes marvelous novels"

"Once Jews no longer obeyed the imperatives of their religion, they were virtually obliged to create new forms of identity, turning accommodation from means to end. Literature was a proving ground for the reinvention of the self. One-tenth of the Nobel Prize winners for literature in the twentieth century were born Jews, but only two of them-Shmuel Yosef Agnon (1966) and Isaac Bashevis Singer (1978)-wrote in a Jewish language and only about half thought of themselves as Jews. Paul Heyse (1910), Nellie Sachs (1966), and Elias Canetti (1981) wrote in German; Henri Bergson (1927) in French; Boris Pasternak (1958) and Joseph Brodsky (1987) in Russian; and Saul Bellow (1976) and Nadine Gordimer (1991) in English."

"He knows that the story of the Afrikaner farmer—regional Party leader and Commandant of the local security commando—shooting a black man who worked for him will fit exactly their version of South Africa."

"The truth isn't always beauty, but the hunger for it is."

"Odd in-between period which sometimes inserts itself into historical time when not only the later historians but the actors and witnesses, the living themselves, become aware of an interval in time which is altogether determined by things that are no longer and by things that are not yet. In history, these intervals have shown more than once that they may contain the moment of truth."

"People in the farming community understand how he must feel. Bad enough to have killed a man, without helping the Party’s, the government’s, the country’s enemies, as well."

"The gap between the committed and the indifferent is a Sahara whose faint trails, followed by the mind's eye only, fade out in sand."

"I opened the telegram and said, "He's dead —" and as I looked up into Graham Mill's gaze I saw that he knew who, before I could say."

"Change the world but keep bits of it the way I like it for myself — who wouldn’t make the world over if it were to be as easy as that."

"I like the idea of a literary patchwork, novel by novel, poem by poem, by different writers, mapping out an era, 'a continent' more and more thoroughly. No one writer can do it. (1979)"