Dani shapiro quotes

Logic and faith don't occupy the same side.

Writing well involves walking the path of most resistance. Sitting still, being patient, allowing the lunatic dream to take shape on the page, then the shaping, the pencil on the page, breathing, slowing down, being willing–no, more than willing, being wide open–to press the bruise until it blossoms.

I never troll for material. It simply presents itself, and is always unmistakable. This is why I want to roll my eyes when people interrupt themselves in the middle of some story they're telling me to say, "You know you can't write about this."

Traces that live within us often lead us to our stories

In every generation there is a vault-keeper, one who guards the links fiercely and knows they are more precious than rubies.

Devotion, as it relates to the title of my memoir, means fidelity - as in fidelity to a person or a practice. I think it's certainly possible to feel devotion without having faith, at least in the religious sense of the word.

I do strongly identify with being Jewish. I was raised Orthodox and had a childhood complicated by the fact that my father was deeply religious and my mother was not.

When I was growing up, I had no idea that I could possibly become a writer. I wrote endlessly in journals - a practice I maintained for a long time, well into the writing life I had no idea I could ever have.

Success is so fleeting, even if you get a good book deal or your book is a huge success, there's always the fear: What about the next one?

My parents made the decision never to focus on my looks, and I had no sense of myself as beautiful.

It's easier in an urban world to cast the blame outward. So I've learned a lot about my own process in that way.

Moving to the country has been incredibly good for my work, for my sense of perspective.

At some point each day (well, most days) I unroll my mat and practice for an hour. I sit in meditation for a while. This can be five minutes or twenty minutes, but the daily practice - simply showing up for it - is centering.

There's something about urban life - you walk out your door, and you're in a steady of stream of life happening around you, and it's very easy to get caught up in that stream and simply kind of keep on moving.

Courage is more important than confidence

Confidence is highly overrated when it comes to creating literature. A writer who is overly confident will not engage in the struggle to get it exactly right on the page - but rather, will assume that she's getting it right without the struggle.

Everything you need to know about life can be learned from a genuine and ongoing attempt to write

All there is to do, right at this very moment, is to breathe in, breathe out, and kiss the joy as it flies.

We're all simultaneously separated and connected by our devices, staring into our little screens, and also hungry for experience and community.

When a writer's whole being is poured into a piece of work, there is never enough. The feeling of finally getting to the end of a piece of work, of making it as good as you can at that moment, is more of a relief than anything else, and then you wait for reviews.

I started realising that the themes running through all of my novels were really haunting and obsessing me about my own life.

I found myself doing so much public speaking, more and more and bigger and bigger.

There is no end to the promotion. There is no end to the possibilities. You can continue to promote a book for years, literally.

I had spent my childhood and the better part of my early adulthood trying to understand my mother. She had been an extraordinarily difficult person, spiteful and full of rage, with a temper that could flare, seemingly out of nowhere, scorching everything and everyone who got in its way. [pp. 40-41]

You can start your day over anytime.

This may be a little bit of a provocative thing to say, but the memoirist doesn't owe the reader anything other than a good story and the inclining of the mind in the direction of memory. Of course, the memoirist is not allowed to make things up. But the really skilled memoirist knows what to leave in and what to leave out to serve the story. In autobiography you can't do that.

The fact is that most husbands, regardless of religion - it's an old-fashioned gender divide where the husband wants to stay home and the wife is the one who drags herself and her children to whatever spiritual center they're going to.

I don't know why this is, but I really believe that things don't happen when we're trying to will them into being. They don't happen when we're waiting for the phone to ring, or the email to pop up in our in box. They don't happen when we're gripping too tightly. They happen - if they happen at all - when we've fully let go of the results. And, perhaps, when we're ready.

In the country, I stopped being a person who, in the words of Sylvia Boorstein, startles easily. I grew calmer, but beneath that calm was a deep well of loneliness I hadn't known was there. ... Anxiety was my fuel. When I stopped, it was all waiting for me: fear, anger, grief, despair, and that terrible, terrible loneliness. What was it about? I was hardly alone. I loved my husband and son. I had great friends, colleagues, students. In the quiet, in the extra hours, I was forced to ask the question, and to listen carefully to the answer: I was lonely for myself. [p. 123]

The only graceful thing to do is recognize and embrace what is actually happening, rather than fight against it.

I’ve discovered that my best work comes from the uncomfortable but fruitful feeling of not having a clue – of being worried, secretly afraid, even convinced that I’m on the wrong track.

Open your hearts. Deep inside ourselves, we are all one and the same.

When I was starting out there was no Internet, there wasn't this sense that you could be connected to other writers around the world. And that created a kind of innocence, or parochial quality, even in NYC.

It's essential to have sacred time for writing. All successful authors have some daily commitment to keep on-track and moving forward.

Recognize the possibility of the divine in any given moment.

Everything changes. The more I try to hold on to the moment, the more it slips through my fingers.

We don't choose what's going to wake us up.

If you are a writer or any kind of artist, if you change something as fundamental as where you live - the way you live - then I think you change the very instrument that is trying to make the art

As a writer we are our own instruments; we need to protect our instrument, because no one will protect it if we don't.

I try to remember that the job - as well as the plight, and the unexpected joy - of the artist is to embrace uncertainty, to be sharpened and honed by it.

I do keep a tiny little journal in which I write passages that I read and want to hold on to. This practice is sort of the opposite of Twitter.

If I dismiss the ordinary—waiting for the special, the extreme, the extraordinary to happen - I may just miss my life.

How do we live the writer's life? There's only one simple answer: 'we write.'

I never feel so alive as when I'm writing and the work is going well.

I do whatever is necessary in order to maintain the equanimity we all need to withstand the disappointment and rejection that are the lot of every writer, no matter where we are in our careers.

If I waited to be in the mood to write, I'd barely have a chapbook of material to my name. Who would ever be in the mood to write? Do marathon runners get in the mood to run? Do teachers wake up with the urge to lecture? I don't know, but I doubt it. My guess is that it's the very act that is generative. The doing of the thing that makes possible the desire for it.

As a fiction writer, that's been a preoccupation of mine: Can you really just close the door and leave the past back there behind you, or is the door going to blow open at some point?

I've certainly faced some raw, real pain in my life. I lost my father to a car accident when I was young. My mother died ten years ago. My son was very sick as an infant. Eventually, I have attempted to transform this pain into art, to make meaning out of it.

It's not gender-specific, but I do think it's women who tend to start having that sort of little whispering voice of "I want more here" and "I want more for my family."

Music inspires me and puts me in the right mood, but to actually listen to it when I write - I find it gets in the way.

When I lived in the city, I had learned to close my door against a lot of the noise, but when I open my door here, I'm not opening into the possibility that I'm going to run into somebody or be faced with a hundred choices about what I'm going to do, or which cafe I'm going to go to, or which way to distract myself.

Those memories that are engraved within me become teaching tools, ways of connecting with others, of creating an empathic bridge, of reaching out a hand and saying, I've been there, too.

The writing life requires courage, patience, persistence, empathy, openness, and the ability to deal with rejection. It requires the willingness to be alone with oneself. To be gentle with oneself. To look at the world without blinders on. To observe and withstand what one sees. To be disciplined, and at the same time, take risks. To be willing to fail - not just once, but again and again, over the course of a lifetime.

It is in the thousands of days of trying, failing, sitting, thinking, resisting, dreaming, raveling, unraveling that we are at our most engaged, alert, and alive.

I think there's something about a writer's disposition, that is, even if unaware, always slightly in a witness state.

I could spend two years cross-legged on my floor and feel like I was working.

I'm most connected to myself when I'm alone in a room, moving my hand across a page. That's when I feel most like me.

I did want to feel like life's all of one piece.

With tremendous clarity and wisdom, Daniel Tomasulo has crafted a memoir at once heartbreaking and uplifting. Layers of time and memory—childhood, adolescence, early adulthood, middle age—are so beautifully revealed here, a trenchant reminder that our pasts are alive inside of us. There are psychologists who can write, and writers who can psychologize, but rarely have the two met on the page with such moving, profound results.

Our teachers are everywhere. Our teachers are right in front of us, and take so many forms. All we need to do is to open our eyes, to be open to and aware of the possibilities. Otherwise, we walk sightless among miracles.

Everything I know about life I learned from the daily practice of sitting down to write.

This sadness wasn't a huge part of me--I wasn't remotely depressed--but still, it was like a stone I carried in my pocket. I always knew it was there. [p. 179]

Writing has been my window-flung wide open to this magnificent, chaotic existence-my way of interpreting everything within my grasp.

Our pain is a part of who we authentically are.

There’s a great expression in Twelve Step programs: Act as if. Act as if you’re a writer. Sit down and begin. Act as if you might just create something beautiful, and by beautiful I mean something authentic and universal. Don’t wait for anybody to tell you it’s okay. Take that shimmer and show us our humanity. That’s your job.

In a creative journey, it is essential, no matter how far one runs, to examine that which is closest to home.

If we grew up with nothing, we're complicated with that. That's the thing I keep hearing from people.

What was going on inside of me became louder because everything around me became quieter.

We are tyrannized by our options.

I'll have my students try to follow their minds during the course of a day, just to see the way their minds work, the way our minds hop from thing to thing to thing. The Internet mirrors that to such a degree you can actually see it. Show me your search history and I'll show you who you are.

We don't ruminate during a fight. Maybe in a bath, or driving a car, or as we take a walk. But not right smack in the middle of a dramatic moment.

My journals were a clearing house - a garbage can. Once I was writing seriously, I understood that this was the stuff that didn't belong in my work.

You have to believe in yourself before the world has given you any indication that you should believe in yourself as a writer.

Our minds have a tendency to wander. To duck and feint and keep us at a slight remove from the moment at hand.

When I sit down with my notebook, when I start scribbling words across the page, I find out what I’m feeling.

There are books that a writer undertakes because she wants to go on a journey, and there are journeys a writer undertakes because she wants to write a book.

If you write memoir, it can't be about blame or hurt; it has to be creative.

When I near the end of a book, it feels as if the entire universe meets me more than halfway and supports me. The whole world seems to shimmer when I find the words. My mind quiets.

Let me tell you something about hypochondria: It's a pernicious, undermining little demon. It won't kill you, but it will sap the color from your life so that in the loveliest moments, the moments of grace, you are hit with that whisper in your ear that takes it all away. I'm sick, I'm dying - I just don't know it yet.

I often envy my friends who are visual artists. Visual artists have other things to work with. Other media. I envy my sculptor friends: they have hunks of matter. Marble. Wood. It's physical, which I find very appealing. What we have is nothing, is just glaringly blank.

I don't want to lean back into the past, or forward into the future. I don't want to wish the present moment away. The truth is in the present moment. The great paradox is that when I'm really able to do that, time slows down and opens up. Time feels suddenly and inexplicably without end.

My son is now fourteen, and from the moment he was born, I understood that forevermore my heart would be walking around outside my body.

I don't want to lean back into the past, or forward into the future. I don't want to wish the present moment away.

We can't protect ourselves from pain and heartache. In fact, to love - fully, madly, deeply - is the ensure heartache some day.

Maggie Shipstead takes hold of the reader and doesn't let go. Astonish Me is a haunting, powerful novel.

I was doing a lot of yoga and learning to meditate, and I found that extremely helpful, and still do and hopefully always will.

My desk is covered with talismans: pieces of rose quartz, wishing stones from a favorite beach.

The truth is in the present moment.

If there's anything weirder than an introverted writer going to lots of social functions, it's an introverted writer being converted into an accidental guru.

Part of my spiritual work is learning to live with the knowledge that we can't protect our loved ones from pain and heartache.

I needed to slow down and quiet down deeply into a lot of these questions, yet at the same time what I was looking for, and continue to, is a way to have this exist within a regular, normal, modern life.

As writers, it is our job not only to imagine, but to witness.

Michael Lowenthal has written a big-hearted and wise book about familial love in all its richness and complexity.

A writer with her work needs to be like a dog with a bone all the time. She needs to know where she's hidden it. Where she's stored the good stuff. She needs to keep gnawing at it, even after all the meat seems to be gone. When a student of mine says (okay, whines) that she's impatient, or tired, or the worst: isn't it good enough? this may be harsh, but she loses just a little bit of my respect. Because there is no room for impatience, or exhaustion, or self-satisfaction, or laziness. All of these really mean, simply, that the inner censor has won the day.

I've always felt like my nose is pressed to glass. I always feel a little bit like an outsider.

In my life as a wife and mother, I'm always conscious of my desire to be present.

Strange - I'm not much of a film person. I love watching films, but they don't stay with me the way books do. Stranger still, because my husband is a screenwriter!

I was in my early thirties writing about my early twenties, so there was this way of seeing my younger self from enough of a distance to have perspective but also not to feel that I had to protect myself. My dreams for myself then would have undersold myself in a way.

What's more important that spiritual life? It seems to me it's the bedrock of everything essential about being human.

I think so much about how we read, about the nature of solitude, and of community, is changing in ways that none of us yet understand.

I remember getting my first cell phone in New York, getting into a taxi and thinking "This is the end of solitude in the back of a taxi." What used to happen in the back of a taxi? You looked out the window. My brain has become less able to spend lengths of time without shifting, and I worry about that.

After my family leaves in the morning, I'll make my first coffee of the day and then I head upstairs to go to work. At least, that's my plan. I'm not going to check email. I'm not going on Facebook, or sneaking a glimpse at my Instagram feed. No. I'm not going to down that road. But with multiple devices, by the time I get upstairs [to my study] I may well have heard my iPhone ding and - it's Pavlovian.

It is only with distance that we are able to turn our powers of observation on ourselves, thus fashioning stories in which we are characters.

When I was writing my first novel, I smoked cigarettes. And when I think about what it was like to smoke, I remember exactly the feeling of sitting in front of my big old computer in that little room where I wrote my first novel.

We can't protect ourselves from pain and heartache.

I used to act in television commercials when I was a kid and a young adult.

From spiritual connection springs kindness, connection, social activism, and love.

When I started meditating, even doing yoga, I felt like it was hard to allow myself to develop any other kind of practice [outside of Judaism], like I was somehow being untrue to my heritage, and that was something I had to get over and was probably the greatest revelation to me.

The Internet and all its lures are much, much harder than anything I've ever encountered. If you're writing on a computer, the very instrument you're writing on is already tainted by the world out there in all its permutations.

There's nothing confessional about crafting and shaping a story out of a lived life. In fact, it's quite the opposite - the writer has to be able to transcend the life, to see it as if standing outside of it, in order to be able to make something of it. There's something enormously satisfying and gratifying about crafting something, taking all that chaos and giving it shape.

I'm very disciplined, but the one thing that I have addictive behavior about is the Internet.

Our minds simply don't function in some sort of narrative chronology. I think that one of the great gifts of writing fiction is being able to think about that.

I'm an urban person who loves living in the country.