@foba/quotes-literature/dist/index.cjs

quotes on literature

'use strict';

Object.defineProperty(exports, '__esModule', { value: true });

var utilQuotes = require('@foba/util-quotes');

var Aaron_Sorkin = [{
  figure: 'Aaron Sorkin',
  mark: 'The Colbert Report at 7m35s. Aired 2010/09/30, retrieved 2010/10/16.',
  quote: 'Socializing on the internet is to socializing, what reality TV is to reality.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'The West Wing, Season Two Commentary Track: Noel.',
  quote: 'Writing anything, it sorta starts the way you\'d build a castle at the beach. You\'re just taking your hands and you\'re mounting up sand.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'Interview for Comedy Central. [specific citation needed]',
  quote: 'Is it (Sports Night) a comedy or a drama? That\'s generally not a question I try and answer for myself before I\'m going to write something. The example I would use is, if you\'re driving in your car and you\'re listening to a rock \'n\' roll station on the radio and a song comes on, and in the song you hear elements of jazz and folk and you hear strings in there … it\'s not necessary to answer the question, "Is this jazz, is this folk, or is this rock?" before you decide to listen to it and like it or not.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'The West Wing Script Book: Vol1. Intro.',
  quote: 'People who don\'t know anything tend to make up fake rules, the real rules being considerably more difficult to learn.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'The West Wing Script Book: Vol1. Intro.',
  quote: 'I love writing but I hate starting. The page is awfully white and it says. " You may have fooled some of the people some of the time but those days are over, giftless. I\'m not your agent and I\'m not your mommy, I\'m a white piece of paper, you wanna dance with me?" and I really, really don\'t. I don\'t want any trouble. I\'ll go peaceable-like.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'David Marchese (20200301). "Aaron Sorkin on how he would write the Democratic primary for ‘The West Wing.’". New York Times. Retrieved on 20200302.',
  quote: 'The worst crime you can commit is telling the audience something they already know, in any fashion, even for a moment.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'David Marchese (20200301). "Aaron Sorkin on how he would write the Democratic primary for ‘The West Wing.’". New York Times. Retrieved on 20200302.',
  quote: 'The problem I had when I wrote “The Social Network” was that this thing that’s supposed to bring us closer together is pushing us further apart. It gives everyone the impression that everyone else in the world is having a better time, and that if you are not cataloging your life, then you’re not really living it. People are going to show you only pictures of themselves having a great time at the best party with the coolest people eating, for some reason, avocado toast. They’re also not going to experience empathy. When we’re a little kid on a playground and say something mean to another little kid, we see in their face what we did, and we feel bad because of it. On social media, it’s more like yelling at another driver from your car. People are developing a chemical addiction to their phones. A gambling addict feels that rush of dopamine and serotonin not when they win but when the roulette wheel is spinning. When kids stick their hand in their pocket to get their phone and see if someone has commented on the photo they posted, they get that rush of serotonin and dopamine. It’s a big deal. And now, when we talk about our concerns with Facebook, we’re talking about the power that it has to disseminate misinformation and disinformation. We’re never going to put this genie back in the bottle, but surely we can decide that lies are bad.'
}];

var Ernest_Hemingway = [{
  figure: 'Ernest Hemingway',
  mark: 'Letter to his family (19181018); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker. It was also published in The Oak Parker (Oak Park, IL) on 19181116. Only 19 years old at the time, Hemingway was recovering from wounds suffered at the front line while serving as a Red Cross volunteer.',
  quote: 'And how much better to die in all the happy period of undisillusioned youth, to go out in a blaze of light, than to have your body worn out and old and illusions shattered.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Toronto Star Weekly (19220304)',
  quote: 'Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"Trout Fishing in Europe" The Toronto Star Weekly (19231117)',
  quote: 'Somebody just back of you while you are fishing is as bad as someone looking over your shoulder while you write a letter to your girl.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (1924) to Ezra Pound; published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker, p113',
  quote: 'Fuck literature.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19241206); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'A man\'s got to take a lot of punishment to write a really funny book.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"The Age Demanded" in Der Querschnitt (192502); as quoted in Sylvia Beach and the Lost Generation (1983) by Noel Riley Fitch',
  quote: 'The age demanded that we danceAnd jammed us into iron pants.\nAnd in the end the age was handedThe sort of shit that it demanded.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19250515); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'My attitude toward punctuation is that it ought to be as conventional as possible. The game of golf would lose a good deal if croquet mallets and billiard cues were allowed on the putting green. You ought to be able to show that you can do it a good deal better than anyone else with the regular tools before you have a license to bring in your own improvements.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Sherwood Anderson (19250523); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'God knows, people who are paid to have attitudes toward things, professional critics, make me sick; camp-following eunuchs of literature. They won\'t even whore. They\'re all virtuous and sterile. And how well meaning and high minded. But they\'re all camp-followers.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19250701); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I wonder what your idea of heaven would be — A beautiful vacuum filled with wealthy monogamists. All powerful and members of the best families all drinking themselves to death. And hell would probably an ugly vacuum full of poor polygamists unable to obtain booze or with chronic stomach disorders that they called secret sorrows.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Domenica del Corriere, 1973',
  quote: 'That Muretto di Alassio by Mario Berrino is a beautiful color film.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19250701); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'To me a heaven would be a big bull ring with me holding two barrera seats and a trout stream outside that no one else was allowed to fish in and two lovely houses in the town; one where I would have my wife and children and be monogamous and love them truly and well and the other where I would have my nine beautiful mistresses on 9 different floors and one house would be fitted up with special copies of the Dial printed on soft tissue and kept in the toilets on every floor and in the other house we would use the American Mercury and the New Republic.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19250701); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Write me at the Hotel Quintana, Pamplona, Spain. Or don\'t you like to write letters. I do because it\'s such a swell way to keep from working and yet feel you\'ve done something'
}, {
  figure: 'Ernest Hemingway',
  mark: 'About his book, The Sun Also Rises in a letter (19260821); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I\'ve tried to reduce profanity but I reduced so much profanity when writing the book that I\'m afraid not much could come out. Perhaps we will have to consider it simply as a profane book and hope that the next book will be less profane or perhaps more sacred.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"In Another Country" in Men Without Women (1927).',
  quote: 'In the fall the war was always there but we did not go to it any more.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"Che ti dice la Patria?" in Men Without Women (1927)',
  quote: '‘It’s his sense of self-preservation.’ ‘The great Italian sense.’ ‘The greatest Italian sense.’'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19270915); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Well, Fitz, I looked all through that bible, it was in very fine print and stumbling on that great book Ecclesiastics, read it aloud to all who would listen. Soon I was alone and began cursing the bloody bible because there were no titles in it — although I found the source of practically every good title you ever heard of. But the boys, principally Kipling, had been there before me and swiped all the good ones so I called the book Men Without Women hoping it would have a large sale among the fairies and old Vassar Girls.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19290904); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life — and one is as good as the other.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19290913); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'That terrible mood of depression of whether it\'s any good or not is what is known as The Artist\'s Reward.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Hemingway\'s famous phrase in a letter to F. Scott Fitzgerald (19260420), published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker. In the letter, he wrote that he was "not referring to guts but to something else." The phrase was later used by Dorothy Parker in a profile of Hemingway, "The Artist\'s Reward," in the New Yorker (19291130)',
  quote: 'Grace under pressure'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Marlene Dietrich (19300701)',
  quote: 'I\'ve been in love (truly) with five women, the Spanish Republic and the 4th Infantry Division.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (5–19320106); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Eschew the monumental. Shun the Epic. All the guys who can paint great big pictures can paint great small ones.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Nick Adams of "Fathers and Sons" in Winner Take Nothing (1932)',
  quote: 'When you have shot one bird flying you have shot all birds flying. They are all different and they fly in different ways but the sensation is the same and the last one is as good as the first.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The old waiter of "A Clean, Well-Lighted Place" in Winner Take Nothing (1932)',
  quote: 'Our nada who art in nada, nada be thy name thy kingdom nada thy will be nada in nada as it is in nada. Give us this nada our daily nada and nada us our nada as we nada our nadas and nada us not into nada but deliver us from nada; pues nada. Hail nothing full of nothing, nothing is with thee.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19340528); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'That is what we are supposed to do when we are at our best — make it all up — but make it up so truly that later it will happen that way.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Esquire editor Arnold Gingrich (19350411); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Here is the piece. If you can\'t say fornicate can you say copulate or if not that can you say co-habit? If not that would have to say consummate I suppose. Use your own good taste and judgment.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Postscript to letter to critic, poet and translator Ivan Kashkin (19350819); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Don\'t you drink? I notice you speak slightingly of the bottle. I have drunk since I was fifteen and few things have given me more pleasure. When you work hard all day with your head and know you must work again the next day what else can change your ideas and make them run on a different plane like whisky? When you are cold and wet what else can warm you? Before an attack who can say anything that gives you the momentary well-being that rum does?... The only time it isn\'t good for you is when you write or when you fight. You have to do that cold. But it always helps my shooting. Modern life, too, is often a mechanical oppression and liquor is the only mechanical relief.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19360112); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I\'ve seen a lot of patriots and they all died just like anybody else if it hurt bad enough and once they were dead their patriotism was only good for legends; it was bad for their prose and made them write bad poetry. If you are going to be a great patriot, i.\ne., loyal to any existing order of government (not one who wishes to destroy the existing for something better), you want to be killed early if your life and works won\'t stink.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"The Snows of Kilimanjaro," first published in Esquire (193608); later published in The Fifth Column and the First Forty-Nine Stories (1938)',
  quote: 'Kilimanjaro is a snow-covered mountain 19,\n710 feet high, and is said to be the highest mountain in Africa. Its western summit is called by the Masai "Ngàje Ngài," the House of God. Close to the western summit there is the dried and frozen carcass of a leopard. No one has explained what the leopard was seeking at that altitude.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"The Snows of Kilimanjaro," first published in Esquire (193608); later published in The Fifth Column and the First Forty-Nine Stories (1938)',
  quote: 'However you make your living is where your talent lies.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"The Snows of Kilimanjaro," first published in Esquire (193608); later published in The Fifth Column and the First Forty-Nine Stories (1938). Originally in Esquire "Julian" was named as F. Scott Fitzgerald, who, in "The Rich Boy" (1926) had written: "Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard, and cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand..." Fitzgerald responded to this in a letter (193608) to Hemingway saying: "Riches have never fascinated me, unless combined with the greatest charm or distinction."',
  quote: 'The rich were dull and they drank too much or they played too much backgammon. They were dull and they were repetitious. He remembered poor Julian and his romantic awe of them and how he had started a story once that began, "The very rich are different from you and me." And how someone had said to Julian, "Yes, they have more money."'
}, {
  figure: 'Ernest Hemingway',
  mark: 'On Ezra Pound, as quoted in The New Republic (19361111)',
  quote: 'Ezra was right half the time, and when he was wrong, he was so wrong you were never in any doubt about it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to S. Kip Farrington Jr., Atlantic Game Fishing (1937)',
  quote: 'Anglers have a way of romanticizing their battles with fish and of forgetting that the fish has a hook in his mouth, his gullet, or his belly and that his gameness is really an extreme of panic in which he runs, leaps, and pulls to get away until he dies. It would seem to be enough advantage to the angler that the fish has the hook in his mouth rather than the angler.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Address, American Writers Congress, New York City (1937). Reprinted in New Masses (19370622)',
  quote: 'There is only one form of government that cannot produce good writers, and that system is Fascism. For Fascism is a lie told by bullies. A writer who will not lie cannot live or work under Fascism.\nBecause Fascism is a lie, it is condemned to literary sterility. And when it is past, it will have no history, except the bloody history of murder.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"On the American Dead in Spain", New Masses (19390214)',
  quote: 'For our dead are a part of the earth of Spain now and the earth of Spain can never die.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"On the American Dead in Spain", New Masses (19390214)',
  quote: 'As long as all our dead live in the Spanish earth, and they will live as long as the earth lives, no system of tyranny ever will prevail in Spain.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"On the American Dead in Spain", New Masses (19390214)',
  quote: 'The dead do not need to rise. They are a part of the earth now and the earth can never be conquered. For the earth endureth forever...Those who have entered it honorably, and no man ever entered earth more honorably than those who died in Spain, already have achieved immortality.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Preface to The Great Crusade (1940) by Gustav Regler',
  quote: 'There are events which are so great that if a writer has participated in them his obligation is to write truly rather than assume the presumption of altering them with invention.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19400826); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I don\'t like to write like God. It is only because you never do it, though, that the critics think you can\'t do it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'In response to Communist writer Mike Gold\'s criticism of Hemingway\'s depiction of the Spanish Civil War in For Whom the Bell Tolls; as quoted in Carlos Baker, Ernest Hemingway: A Life, New York, Scribners, 1969, p459.',
  quote: 'Go tell Mike Gold, Ernest Hemingway says he should go fuck himself.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Men at War (1942)',
  quote: 'Cowardice, as distinguished from panic, is almost always simply a lack of ability to suspend the functioning of the imagination.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Men at War (1942)',
  quote: 'Once we have a war there is only one thing to do. It must be won. For defeat brings worse things than any that can ever happen in war.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Preface to The First Forty-Nine Stories (1944)',
  quote: 'In going where you have to go, and doing what you have to do, and seeing what you have to see, you dull and blunt the instrument you write with. But I would rather have it bent and dulled and know I had to put it on the grindstone again and hammer it into shape and put a whetstone to it, and know that I had something to write about, than to have it bright and shining and nothing to say, or smooth and well oiled in the closet, but unused.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19450409); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'All my life I\'ve looked at words as though I were seeing them for the first time.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19450723); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'It wasn\'t by accident that the Gettysburg address was so short. The laws of prose writing are as immutable as those of flight, of mathematics, of physics.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Malcolm Cowley (19451017); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'You see it\'s awfully hard to talk or write about your own stuff because if it is any good you yourself know about how good it is — but if you say so yourself you feel like a shit.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Malcolm Cowley (19451114); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Do you remember how old Ford was always writing how Conrad suffered so when he wrote? How it was un metier de chien etc. Do you suffer when you write? I don\'t at all. Suffer like a bastard when don\'t write, or just before, and feel empty and fucked out afterwards. But never feel as good as while writing.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in Paris Was Our Mistress (1947) by Samuel Putnam, p128',
  quote: 'Easy writing makes hard reading.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in "Portrait of Mr. Papa" by Malcolm Cowley in LIFE magazine (19490110)',
  quote: 'It\'s enough for you to do it once for a few men to remember you. But if you do it year after year, then many people remember you and they tell it to their children, and their children and grandchildren remember and, if it concerns books, they can read them. And if it\'s good enough, it will last as long as there are human beings.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Arthur Mizener (19500512); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Scott took LITERATURE so solemnly. He never understood that it was just writing as well as you can and finishing what you start.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Source: quoted in Lillian Ross\'s profile of Hemingway, which first appeared in the The New Yorker (19500513). The profile was later published as a short book titled Portrait of Hemingway (1961). Variant:  I started out very quiet and I beat Turgenev. Then I trained hard and I beat de Maupassant. I\'ve fought two draws with Stendhal, and I think I had an edge in the last one. But nobody\'s going to get me in any ring with Tolstoy unless I\'m crazy or I keep getting better.',
  quote: 'I started out very quiet and I beat Mr. Turgenev. Then I trained hard and I beat Mr. de Maupassant. I’ve fought two draws with Mr. Stendhal, and I think I had an edge in the last one. But nobody’s going to get me in any ring with Mr. Tolstoy unless I’m crazy or I keep getting better.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Marlene Dietrich (19500627)',
  quote: 'Wars are Spinach. Life in general is the tough part. In war all you have to do is not worry and know how to read a map and co-ordinates.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19500709); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Writing and travel broaden your ass if not your mind and I like to write standing up.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19520221); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I am opposed to writing about the private lives of living authors and psychoanalyzing them while they are alive. Criticism is getting all mixed up with a combination of the Junior F.\nB.\nI.-men, discards from Freud and Jung and a sort of Columnist peep-hole and missing laundry list school.... Every young English professor sees gold in them dirty sheets now. Imagine what they can do with the soiled sheets of four legal beds by the same writer and you can see why their tongues are slavering.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19520221); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I still need more healthy rest in order to work at my best. My health is the main capital I have and I want to administer it intelligently.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19520621); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'You know lots of criticism is written by characters who are very academic and think it is a sign you are worthless if you make jokes or kid or even clown. I wouldn\'t kid Our Lord if he was on the cross. But I would attempt a joke with him if I ran into him chasing the money changers out of the temple.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Bernard Berenson (19520913); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Then there is the other secret. There isn\'t any symbolysm [sic]. The sea is the sea. The old man is an old man. The boy is a boy and the fish is a fish. The shark are all sharks no better and no worse. All the symbolism that people say is shit. What goes beyond is what you see beyond when you know.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Bernard Berenson (19521002); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Having books published is very destructive to writing. It is even worse than making love too much. Because when you make love too much at least you get a damned clarte that is like no other light. A very clear and hollow light.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19530320); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Actually if a writer needs a dictionary he should not write. He should have read the dictionary at least three times from beginning to end and then have loaned it to someone who needs it. There are only certain words which are valid and similies (bring me my dictionary) are like defective ammunition (the lowest thing I can think of at this time).'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Bernard Berenson (19540924); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'You know that fiction, prose rather, is possibly the roughest trade of all in writing. You do not have the reference, the old important reference. You have the sheet of blank paper, the pencil, and the obligation to invent truer than things can be true. You have to take what is not palpable and make it completely palpable and also have it seem normal and so that it can become a part of experience of the person who reads it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in The New York Times Book Review (19541107)',
  quote: 'As a Nobel Prize winner I cannot but regret that the award was never given to Mark Twain, nor to Henry James, speaking only of my own countrymen. Greater writers than these also did not receive the prize. I would have been happy — happier — today if the prize had been given to that beautiful writer Isak Dinesen.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19560703); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I wish I could write well enough to write about aircraft. Faulkner did it very well in Pylon but you cannot do something someone else has done though you might have done it if they hadn\'t.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in The New York Post (19570124)',
  quote: 'Pound\'s crazy. All poets are.... They have to be. You don\'t put a poet like Pound in the loony bin. For history\'s sake we shouldn\'t keep him there.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'White, William, ed (1967). By-Line, Ernest Hemingway: Selected Articles and Dispatches of Four Decades by Ernest Hemingway. New York: Charles Scribner\'s Sons. p364.',
  quote: 'It is by riding a bicycle that you learn the contours of a country best, since you have to sweat up the hills and can coast down them. … Thus you remember them as they actually are, while in a motorcar only a high hill impresses you, and you have no such accurate remembrance of country you have driven through as you gain by riding a bicycle.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'New York Journal-American (19610711)',
  quote: 'We are all apprentices in a craft where no one ever becomes a master.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F Scott Fitzgerald, as quoted in Scott Fitzgerald (1962) by Andrew Turnbull (1962) Ch14',
  quote: 'Forget your personal tragedy. We are all bitched from the start and you especially have to be hurt like hell before you can write seriously. But when you get the damned hurt use it — don\'t cheat with it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in That Summer in Paris (1963) by Morley Callaghan',
  quote: 'If you have a success, you have it for the wrong reasons. If you become popular it is always because of the worst aspects of your work.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in Reporting (1964) by Lillian Ross',
  quote: 'I learned never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in Charmed Circle: Gertrude Stein & Co. (1974) by James Mellow',
  quote: 'When I have an idea, I turn down the flame, as if it were a little alcohol stove, as low as it will go. Then it explodes and that is my idea.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Speaking to his son Gregory, as quoted in Papa, a Personal Memoir (1976) Gregory H. Hemingway',
  quote: 'You make your own luck, Gig. You know what makes a good loser? Practice.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'On the loss of a suitcase containing work from his first two years as a writer, as quoted in With Hemingway  (1984) by Arnold Samuelson',
  quote: 'It\'s none of their business that you have to learn how to write. Let them think you were born that way.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Statement to his future wife Mary Welsh, recalled in her obituaries (19861126)',
  quote: 'You\'re beautiful, like a May fly.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'From a set of "rules for life" sent to publisher Charles Scribner IV; quoted in Scribner\'s memoir In the Company of Writers (New York: Scribner, 1991), p64',
  quote: 'Always do sober what you said you\'d do drunk. That will teach you to keep your mouth shut!'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Torrents of Spring (1926). P1Ch1. (the opening lines of the novel)',
  quote: 'Yogi Johnson stood looking out of the window of a big pump-factory in Michigan. Spring would soon be here. Could it be that what this writing fellow Hutchinson had said, \'If winter comes, can spring be far behind?\' would be true again this year? Yogi Johnson wondered.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Torrents of Spring (1926). P2Ch5',
  quote: 'It is very hard to write this way, beginning things backward, and the author hopes the reader will realize this and not grudge this little word of explanation. I know I would be very glad to read anything the reader ever wrote, and I hope the reader will make the same sort of allowances. If any of the readers would care to send me anything they ever wrote, for criticism or advice, I am always at the Café du Dôme any afternoon, talking about Art with Harold Stearns and Sinclair Lewis, and the reader can bring his stuff along with him, or he can send it to me care of my bank, if I have a bank.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Torrents of Spring (1926). P3Ch2',
  quote: 'Red Dog smiled. \'I would like you to meet my friends Mr Sitting Bull, Mr Poisoned Buffalo, and Chief Running Skunk-Backwards.\'\'Sitting Bull\'s a name I know,\' Yogi remarked, shaking hands.\'Oh, I\'m not one of those Sitting Bulls,\' Mr Sitting Bull said.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Robert Cohn to Jake Barnes, in Book 1, Ch2',
  quote: 'Listen Jake... don\'t you ever get the feeling that all your life is going by and you are not taking advantage of it?'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926)',
  quote: 'A bottle of wine was good company.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926)',
  quote: 'All right. Have it your own way. Road to hell paved with unbought stuffed dogs. Not my fault.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Count Mippipopolous, in Book 1, Ch7',
  quote: 'This wine is too good for toast-drinking, my dear. You don\'t want to mix emotions up with a wine like that. You lose the taste.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Bill Gorton to Jake Barnes, in Book 2, Ch12',
  quote: 'You\'re an expatriate. You\'ve lost touch with the soil. You get precious. Fake European standards have ruined you. You drink yourself to death. You become obsessed by sex. You spend all your time talking, not working. You are an expatriate, see? You hang around cafés.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Book 2, Ch13',
  quote: 'How did you go bankrupt?\' Bill asked.\'Two ways,\' Mike said. \'Gradually and then suddenly.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Lady Brett Ashley to Jake Barnes, in Book 3, Ch19',
  quote: 'You know it makes one feel rather good deciding not to be a bitch.\'\'Yes.\'\'It’s sort of what we have instead of God.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Book 3, Ch19. (the last lines of the novel)',
  quote: 'Oh, Jake,\' Brett said, \'we could have had such a damned good time together.\'Ahead was a mounted policeman in khaki directing traffic. He raised his baton. The car slowed suddenly pressing Brett against me.\'Yes,\' I said. \'Isn’t it pretty to think so?'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Men Without Women (short story collection) (1927). Ten Indians',
  quote: 'In the morning there was a big wind blowing and the waves were running high up on the beach and he was awake a long time before he remembered that his heart was broken.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch2',
  quote: 'All thinking men are atheists.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch15',
  quote: 'I have noticed that doctors who fail in the practice of medicine have a tendency to seek one another\'s company and aid in consultation. A doctor who cannot take out your appendix properly will recommend you to a doctor who will be unable to remove your tonsils with success.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Catherine, in Ch18',
  quote: 'You\'re my religion. You\'re all I\'ve got.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch21',
  quote: 'Life isn\'t hard to manage when you\'ve nothing to lose.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch27',
  quote: 'I was always embarrassed by the words sacred, glorious and sacrifice and the expression in vain. We had heard them, sometimes standing in the rain almost out of earshot, so that only the shouted words came through, and had read them, on proclamations that were slapped up by billposters over other proclamations, now for a long time, and I had seen nothing sacred, and the things that were glorious had no glory and the sacrifices were like the stockyards at Chicago if nothing was done with the meat except to bury it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch34',
  quote: 'The world breaks everyone and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch35',
  quote: 'No, that is the great fallacy: the wisdom of old men. They do not grow wise. They grow careful.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Catherine and Henry discussing whether he should grow a beard, in Ch38',
  quote: 'Darling, would you like to grow a beard?\'\'Would you like me to?\'\'It might be fun. I\'d like to see you with a beard.\'\'All right. I\'ll grow one. I\'ll start now this minute. It\'s a good idea. It will give me something to do.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). One of the alternative endings to the novel, published in A Farewell to Arms The Special Edition.',
  quote: 'That is all there is to the story. Catherine died and you will die and I will die and that is all I can promise you.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch1',
  quote: 'About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch7',
  quote: 'All our words from loose using have lost their edge.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch7',
  quote: 'Decadence is a difficult word to use since it has become little more than a term of abuse applied by critics to anything they do not yet understand or which seems to differ from their moral concepts.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch9',
  quote: 'Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter\'s honor.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch9',
  quote: 'Honor to a Spaniard, no matter how dishonest, is as real a thing as water, wine, or olive oil. There is honor among pickpockets and honor among whores. It is simply that the standards differ.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch10',
  quote: 'The individual, the great artist when he comes, uses everything that has been discovered or known about his art up to that point, being able to accept or reject in a time so short it seems that the knowledge was born with him, rather than that he takes instantly what it takes the ordinary man a lifetime to know, and then the great artist goes beyond what has been done or known and makes something of his own.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch11',
  quote: 'There is no lonelier man in death, except the suicide, than that man who has lived many years with a good wife and then outlived her. If two people love each other there can be no happy end to it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch11',
  quote: 'Madame, it is an old word and each one takes it new and wears it out himself. It is a word that fills with meaning as a bladder with air and the meaning goes out of it as quickly. It may be punctured as a bladder is punctured and patched and blown up again and if you have not had it it does not exist for you. All people talk of it, but those who have had it are marked by it, and I would not wish to speak of it further since of all things it is the most ridiculous to talk of and only fools go through it many times.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch11',
  quote: 'Madame, all stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'Prose is architecture, not interior decoration, and the Baroque is over.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'If a writer of prose knows enough about what he is writing about he  may omit things that he knows, and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things only because he does not know them only makes hollow places in his writing.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'A serious writer is not to be confused with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'When writing a novel a writer should create living people; people not characters. A character is a caricature.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'There are some things which cannot be learned quickly, and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man\'s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'All good books are alike in that they are truer than if they had really happened and after you are finished reading one you will feel that all that happened to you and afterwards it all belongs to you; the good and the bad, the ecstasy, the remorse, and sorrow, the people and the places and how the weather was. If you can get so that you can give that to people, then you are a writer.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'The hardest thing to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn, and anybody is cheating who takes politics as a way out. All the outs are too easy, and the thing itself is too hard to do.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'Now a writer can make himself a nice career while he is alive by espousing a political cause, working for it, making a profession of believing in it, and if it wins he will be very well placed. All politics is a matter of working hard without reward, or with a living wage for a time, in the hope of booty later. A man can be a Fascist or a Communist and if his outfit gets in he can get to be an ambassador or have a million copies of his books printed by the Government or any of the other rewards the boys dream about.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'Personal columnists … are jackals and no jackal has been known to live on grass once he had learned about meat — no matter who killed the meat for him.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'If the book is good, is about something that you know, and is truly written, and reading it over you see that this is so, you can let the boys yip and the noise will have that pleasant sound coyotes make on a very cold night when they are out in the snow and you are in your own cabin that you have built or paid for with your work.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'All the critics who could not make their reputations by discovering you are hoping to make them by predicting hopefully your approaching impotence, failure and general drying up of natural juices. Not a one will wish you luck or hope that you will keep on writing unless you have political affiliations in which case these will rally around and speak of you and Homer, Balzac, Zola and Link Steffens.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935)',
  quote: 'War is no longer made by simply analysed economic forces if it ever was. War is made or planned now by individual men, demagogues and dictators who play on the patriotism of their people to mislead them into a belief in the great fallacy of war when all their vaunted reforms have failed to satisfy the people they misrule.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935)',
  quote: 'We in America should see that no man is ever given, no matter how gradually or how noble and excellent the man, the power to put this country into a war which is now being prepared and brought closer each day with all the pre-meditation of a long planned murder. For when you give power to an executive you do not know who will be filling that position when the time of crisis comes.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935). Dulce et decorum est pro patria mori. Sweet and glorious it is to die for our country. ~ Horace in Odes, Book 3, Ode 2, L13. as translated in The Works of Horace by J. C. Elgood',
  quote: 'They wrote in the old days that it is sweet and fitting to die for ones country. But in modern war there is nothing sweet nor fitting in your dying. You will die like a dog for no good reason.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935)',
  quote: 'Hit in the head you will die quickly and cleanly even sweetly and fittingly except for the white blinding flash that never stops, unless perhaps it is only the frontal bone or your optic nerve that is smashed, or your jaw carried away, or your nose and cheek bones gone so you can still think but you have no face to talk with. But if you are not hit in the head you will be hit in the chest, and choke in it, or in the lower belly, and feel it all slip and slide loosely as you open, to spill out when you try to get up, it\'s not supposed to be so painful but they always scream with it, it\'s the idea I suppose, or have the flash, the slamming clang of high explosive on a hard road and find your legs are gone above the knee, or maybe just a foot gone and watch the white bone sticking through your puttee, or watch them take a boot off with your foot a mush inside it, or feel an arm flop and learn how a bone feels grating, or you will burn, choke and vomit, or be blown to hell a dozen ways, without sweetness or fittingness: but none of this means anything. No catalogue of horrors ever kept men from war. Before the war you always think that it\'s not you that dies. But you will die, brother, if you go to it long enough.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935)',
  quote: 'The first panacea for a mismanaged nation is inflation of the currency; the second is war. Both bring a temporary prosperity; both bring a permanent ruin. But both are the refuge of political and economic opportunists.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P1Ch1',
  quote: 'All modern American literature comes from one book by Mark Twain called Huckleberry Finn. […] it\'s the best book we\'ve had. All American writing comes from that. There was nothing before. There has been nothing as good since.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P1Ch1',
  quote: 'I have a good life but I must write because if I do not write a certain amount I do not enjoy the rest of my life.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P2Ch2',
  quote: 'Dostoevsky was made by being sent to Siberia. Writers are forged in injustice as a sword is forged.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P2Ch2',
  quote: 'The best sky was in Italy and Spain and northern Michigan in the fall and in the fall in the Gulf off Cuba.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P3Ch1',
  quote: '[T]he rain was making the finest sound that we, who live much outside of houses, ever hear.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P4Ch1',
  quote: 'They [the best of the Masai] had that attitude that makes brothers, that unexpressed but instant and complete acceptance that you must be Masai wherever it is you come from. That attitude you only get from the best of the English, the best of the Hungarians and the very best Spaniards; the thing that used to be the most clear distinction of nobility when there was nobility. It is an ignorant attitude and the people who have it do not survive, but very few pleasanter things ever happen to you than the encountering of it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'To Have and Have Not (1937). Helen Gordon to her husband Richard Gordon in Ch21',
  quote: 'I was so sentimental about you I\'d break any one\'s heart for you. My, I was a damned fool. I broke my own heart, too. It\'s broken and gone. Everything I believe in and everything I cared about I left for you because you were so wonderful and you loved me so much that love was all that mattered. Love was the greatest thing, wasn\'t it? Love was what we had that no one else had or could ever have? And you were a genius and I was your whole life. I was your partner and your little black flower. Slop