Madeleine L'Engle Quotes - Page 3

People are more than just the way they look.

One night after dinner a group of us were talking about the supernatural, and one of our dinner guests said that when the electric light was invented, people began to lose the dimension of the supernatural. In the days before we could touch a switch and flood every section of the room with light, there were always shadows in the corner, shadows which moved with candlelight, with firelight; and these shadows were an outward and visible sign that things are not always what they seem; there are things which are not visible to the mortal human being; there are things beyond our ken.

Obedience is an unpopular word nowadays, but the artist must be obedient to the work, whether it be a symphony, a painting, or a story for a small child. I believe that each work of art, whether it is a work of great genius or something very small, comes to the artist and says, "Here I am, Enflesh me. Give birth to me." And the artist either says, "My soul doth magnify the Lord," and willingly becomes the bearer of the work, or refuses; but the obedient response is not necessarily a conscious one, and not everyone has the humble, courageous obedience of Mary.

And it came to me as I stood on the desert sand, looking at the Great Pyramid, that what any civilization says about God tells us more about that civilization than it does about God.

What we are is going to be visible in our art, no matter how secular (on the surface) the subject may be.

Inspiration usually comes during work rather than before it.

Qui plussait, plus se tait. French, you know. The more a man knows, the less he talks.

I am encouraged as I look at some of those who have listened to their "different drum": Einstein was hopeless at school math and commented wryly on his inadequacy in human relations. Winston Churchill was an abysmal failure in his early school years. Byron, that revolutionary student, had to compensate for a club foot; Demosthenes for a stutter; and Homer was blind. Socrates couldn't manage his wife, and infuriated his countrymen. And what about Jesus, if we need an ultimate example of failure with one's peers? Or an ultimate example of love?

In the act of creativity, the artist lets go the self-control which he normally clings to and is open to riding the wind.

To try to talk about art and about Christianity is for me one and the same thing, and it means attempting to share the meaning of my life, what gives it, for me, its tragedy and its glory.

How long your closet held a whiff of you,Long after hangers hung austere and bare.I would walk in and suddenly the trueSharp sweet sweat scent controlled the airAnd life was in that small still living breath.Where are you? since so much of you is here,Your unique odour quite ignoring death.My hands reach out to touch, to hold what's dearAnd vital in my longing empty arms.But other clothes fill up the space, your space,And scent on scent send out strange false alarms.Not of your odour there is not a trace.But something unexpected still breaks throughThe goneness to the presentness of you.

He knew what she wanted, and he wanted it, too; he was ready, but not, despite her gorgeousness, with Tiglah. Tiglah was not worth losing his ability to touch a unicorn.

A book comes and says, 'Write me.

We're not peculiar.""Oh, yes, you are. Don't you realize that in my world my parents are peculiar because they'd never been divorced? Basically because it would have been too much trouble. But you live in a world where not only are your parents not divorced, they appear to love each other

Oh child, your language is so utterly simple and limited that it has the affect of extreme complication.-Aunt Beast

Come t'e' picciol fallo amaro morso! Dante. What grievous pain a little fault doth give thee!

An infinite question is often destroyed by finite answers. To define everything is to annihilate much that gives us laughter and joy.

Meg looked. The dark shadow was still there. It had not lessened or dispersed with the coming of night. And where the shadow was, the stars were not visible.What could there be about a shadow that was so terrible that she knew that there had never been before or ever would be again, anything that would chill her with a fear that was beyond shuddering, beyond crying or screaming, beyond the possibility of comfort?

In so-called primitive societies there are two words for power, mana and taboo: the power which creates and the power which destroys; the power which is benign and the power which is malign. Odd that we have retained in our vocabulary the word for dangerous power, taboo, and have lost mana.

Because you're not what I would have you be I blind myself to who in truth you are.

Because it is the nature of love to create, a marriage itself is something which has to be created, so that, together we become a new creature. To marry is the biggest risk in human relations that a person can take…If we commit ourselves to one person for life this is not, as many people think, a rejection of freedom; rather it demands the courage to move into all the risks of freedom, and the risk of love which is permanent; into that love which is not possession, but participation…It takes a lifetime to learn another person…When love is not possession, but participation, then it is part of that co-creation which is our human calling, and which implies such risk that it is often rejected.

One cannot be humble and aware of oneself at the same time.

Reading about the response of people in stories, plays, poems, helps us to respond more courageously and openly at our own moments of turning.

When we are writing or painting or composing, we are, during the time of creativity, freed from normal restrictions and opened to a wider world, where colours are brighter, sounds clearer, and people more wondrously complex than we normally realize.

People are afraid of knowledge that is not yet theirs.

A book, too, can be a star, a living fire to lighten the darkness, leading out into the expanding universe.

Part of doing something is listening. We are listening. To the sun. To the stars. To the wind.

Very few of us understand Honorable Bird, except to acknowledge that without his power and grace nothing would be written, painted, or composed at all. To say anything beyond this about the creative process is like pulling all the petals off a flower in order to analyze it, and ending up having destroyed the flower.

But I am a storyteller, and that involves language, for me the English language, that wonderfully rich, complex, and ofttimes confusing tongue. When language is limited, I am thereby diminished, too.

Why are we so afraid of silence? Teenagers cannot study without their records; they walk along the street with their transistors. Grownups are as bad if not worse; we turn on the TV or the radio the minute we come into the house or start the car. The pollution of noise in our cities is as destructive as the pollution of air. We show our fear of silence in our conversation: I wonder if the orally-minded Elizabethan's used "um" and "er" the way we do? And increasingly prevalent is what my husband calls an articulated pause: "You know." We interject "you know" meaninglessly into every sentence, in order that the flow of our speech should not be interrupted by such a terrifying thing as silence.

Jesus was not a theologian. He was a God who told stories.

... scar tissue was the strongest tissue in the human body.

--So we reached our decisions simultaneously, and apart, and if I knew that Court was fighting a battle, did he, too, sense mine? Did it have anything to do with his coming back to life again? For he is here, I am no longer living with a marble image. And I will never know why. Court being Court I can never ask him why; we wrestled with our problems alone and we must live alone with the answers. And is it part of a marriage, part of being a human being, that we must always reach our decisions alone?

We have to be braver than we think we can be, because God is constantly calling us to be more than we are.

The great thing about getting older is that you don't lose all the other ages you've been.

The story comes, and it is pure story. That's all I set out to write. But I don't believe that we can write any kind of story without including, whether we intend to or not, our response to the world around us.

We look not at the things which are what you would call seen, but at the things which are not seen. For the things which are seen are temporal. But the things that are not seen are eternal.

Emily looked over at Courtney. He was still asleep. For a long time she had thought that if you loved anyone you had to tell him everything: go to him and confess as in the dream; there could be no secrets. But now in the dark of early morning with the copper bottle cold against her fee she felt that this desire to tell all was simply an evasion of responsibility, a weakness in wanting to push on to the person you love something that is your own responsibility to solve. It would be easier for her to tell Courtney all about Abe, to come to him as he sat at this desk in the chill little workroom and confess, to hand the responsibility for her ambivalence to him, to let him settle the problem of her puny conscience for her.But I know, she thought, lying there beside him on Madame Pedroti's lumpy bed, that if I love Courtney that is the last thing I must do. If I love Courtney he must never know.

When I start a new seminar I tell my students that I will undoubtedly contradict myself, and that I will mean both things. But an acceptance of contradiction is no excuse for fuzzy thinking. We do have to use our minds as far as they will take us, yet acknowledge that they cannot take us all the way.

For an artist is not a consumer, as our commercials urge us to be. An artist is a nourisher and a creator who knows that during the act of creation there is collaboration. We do not create alone.

But my memories are like a fire in winter—whenever I'm cold I can warm my hands at them.—Ditta

I would, quite often, like to be grownup, wise, and sophisticated. But these gifts are not mine.

I hate it!" Charles Wallace cried passionately. "I hate the Dark Thing!

Stories are able to help us to become more whole, to become Named. And Naming is one of the impulses behind all art; to give a name to the cosmos, we see despite all the chaos.

The author & the reader "know" each other: they meet on the bridge of words

All will be redeemed in God's fullness of time, all, not just the small portion of the population who have been given the grace to know and accept Christ. All the strayed and stolen sheep. All the little lost ones.

A great ring of pure & endless lightDazzles the darkness in my heartAnd breaks apart the dusky clouds of night.The end of all is hinted in the start.When we are born we bear the seeds of blight;Around us life & death are torn apart,Yet a great ring of pure and endless lightDazzles the darkness in my heart.It lights the world to my delight.Infinity is present in each part.A loving smile contains all art.The motes of starlight spark & dart.A grain of sand holds power & might.Infinity is present in each part,And a great ring of pure and endless lightDazzles the darkness in my heart.

Humility is throwing oneself away in complete concentration on something or someone else.

I can't think of one great human being in the arts, or in history generally, who conformed, who succeeded, as educational experts tell us children must succeed, with his peer group...If a child in their classrooms does not succeed with his peer group, then it would seem to many that both child and teacher have failed. Have they? If we ever, God forbid, manage to make each child succeed with his peer group, we will produce a race of bland and faceless nonentities, and all poetry and mystery will vanish from the face of the earth.

Who makes you least confused?""Calvin" There was no hesitation here. "When I'm with Calvin, I don't mind being me""You mean he makes you more you, don't you?""I guess you could put it that way.

Lords of fire and earth and water,Lords of moon and wind and sky,Come now to the Old Man's daughter,Come from fathers long gone by.Bring blue from a distance eye.Lords of water, earth, and fire,Lords of wind and snow and rain,Give to my heart's desire.Life as all life comes with pain,But blue will come to us again.

The unending paradox is that we do learn through pain.

If it's not good enough for adults, it's not good enough for children. If a book that is going to be marketed for children does not interest me, a grownup, then I am dishonoring the children for whom the book is intended, and I am dishonoring books. And words.

... Papa's always had the ability to remember the good things and let the bad ones go." "Not a bad ability.""... I'm not sure. I think we have to remember it all before we can forgive it.

Silence fell between them, as tangible as the dark tree shadows that fell across their laps and that now seemed to rest upon them as heavily as though they possessed a measurable weight of their own.

Rather than feeling lost and unimportant and meaningless, set against galaxies which go beyond the reach of the furthest telescopes, I feel that my life has meaning. Perhaps I should feel insignificant, but instead I feel a soaring in my heart that the God who could create all this — and out of nothing — can still count the hairs of my head.

The writer does want to be published; the painter urgently hopes that someone will see the finished canvas (van Gogh was denied the satisfaction of having his work bought and appreciated during his lifetime; no wonder the pain was more than he could bear); the composer needs his music to be heard. Art is communication, and if there is no communication it is as though the work has been stillborn.

I didn't mean to tell you," Mrs. Whatsit faltered. "I didn't mean ever to let you know. But oh, my dears, I did so love being a star!" "Yyouu are sstill verry yyoungg," Mrs Witch said, her voice faintly chiding. The Medium sat looking happily at the star-filled sky in her ball, smiling, and nodding and chuckling gently. But Meg noticed that her eyes were drooping, and suddenly her head fell forward and she gave a faint snore."Poor thing," Mrs Whatsit said, "we've worn her out. It's very hard work for her.

Because to take away a man's freedom of choice, even his freedom to make the wrong choice, is to manipulate him as though he were a puppet and not a person.

When the work takes over, then the artist is enabled to get out of the way, not to interfere. When the work takes over, then the artist listens.