Drood

The beauty of that June day was almost staggering. After the wet spring, everything that could turn green had outdone itself in greenness and everything that could even dream of blooming or blossoming was in bloom and blossom. The sunlight was a benediction. The breezes were so caressingly soft and intimate on the skin as to be embarrassing.

This is every writer's nightmare--the sudden breakdown of meaning in the language that sustains and supports us...

...speaking as a novelist myself, I know that members of our profession live in our imaginations as much or more as we inhabit what people call 'the real world'...

His imagination was always more real than the reality of daily life.

Very few conversations with Charles Dickens did not include a laugh from him. I had never met a man so given to laughter. Almost no moment or context was too serious for this author not to find some levity in it, as some of us had discovered to our embarrassment at funerals.

He was, in other words, a careful man with careless impulses.

I doubt if he ever confronted and acknowledged his own deeper motivations, except when they were as pure as spring water.

Finding a woman like that amidst the herd of half-feeling, half-caring, half-responding, females in our society of 1860's England was not so much like finding a diamond in the rough as it was finding a warm responsive body amidst the cold dead forms on slabs in the Paris morgue that Dickens had so enjoyed taking me to.

(...) Poco después del enorme éxito de "La mujer de blanco", se me preguntó cuál era el secreto de mi éxito; yo, modestamente, le dije a mi interlocutor: 1. Busca una idea central. 2. Idea unos personajes. 3. Deja que los personajes desarrollen los incidentes. 4. Empieza la historia por el principio.

Si un escritor se pone muy enfermo, todo se detiene. Si se muere, su "negocio" se acaba para siempre. En este sentido, la carrera de un escritor popular se parece más a la de un famoso actor, pero hasta el actor más famoso tiene un suplente. Un escritor no. Nadie puede sustituirle. Su voz personal lo es todo. Y esto es especialmente cierto en el caso de una escritor popular que ya está en proceso de ser publicado por entregas en una revista de tirada nacional.

No tengo que contarle que Martha siguió engordando durante cada embarazo y posteriormente. Después de que naciera William, ella ya no fingió que pudiera despojarse del enorme peso que colgaba de su cuerpo como grandes masas de grasa. Parecía que había abandonado el cuidado de su aspecto. Una vez escribí de Martha R. que era un bello espécimen del tipo de chica que me gustaba: "La auténtica chica carnosa inglesa, alimentada con carne de buey". Pero todo aquel buey que la alimentaba tuvo un efecto predecible. Si me hubiesen pedido que reescribiese aquella frase en 1874, habría dicho: "Es el perfecto espécimen de enorme buey inglés carnoso y alimentado con carne de chica".