Wallace Stegner Quotes

A Southern accent is not a club in my bag.

I definitely don't think of myself as someone identified by region. It's too far-flung a region, for starters, and southern New Mexico is very isolated. I wouldn't think of my identity as generational, either, but maybe as more stylistic, in the school of realism and domestic issues.

The Batave is much more Dutch than the Englander is English, the Frenchman is French or any other people of the world is anything. It is not exactly their patriotism which gives the Bataves the quality of eternal fixity of character, but rather their land, their climate, their whole manner of being and living, all of which resemble nothing else that can be seen on the face if the earth.

I'm very proud of my Southern accent, it's part of me.

For the multiculturist/diversity crowd, culture, ideas, customs, arts and skills are a matter of racial membership where one has no more control over his culture than his race. That's a racist idea, but it's politically correct racism. It says that one's convictions, character and values are not determined by personal judgment and choices but genetically determined. In other words, as yesteryear's racists held: race determines identity.

I don't think there is a distinct change, because in the West I'm not a person who can serve his purpose.

In the last analysis, provincialism is your belief in yourself, in your neighborhood, in your reality. It is patriotism without belligerence. Convincing cases have been made to show that all great art is provincial in the sense of reflecting a place, a time, and a Zeitgeist.

Do we want to emulate China in the way that China emulates the West? I think, for most Americans, the answer to that question would be no.

I don’t know, I don’t feel right unless I’ve got the sea and mountains nearby. People are mostly a product of where they were born and raised. How you think and feel’s always linked to the lay of the land, the temperature. The prevailing winds, even.

Temperament lies behind mood; behind will, lies the fate of character. Then behind both, the influence of family the tyranny of culture; and finally the power of climate and environment; and we are free, only to the extent we rise above these.

Of course, people will call you an old artist or young artist, which is just a character of you. But personally, I don't think my work and my understanding of art is so much related to being Chinese, but the character of that. Maybe it's beyond my own consciousness.

There is no way you can think outside of your culture.

In general, American life is more easy-going. And civic pride, national pride in a cultural sense, is great in America. I think what they esteem in America is character and energy, and being different and superior to other peoples. Of course, every nation feels itself to be superior, but in America it's a jaunty feeling, and in some cases a rather ominous one among the super-patriots.

I think actors always like to think they don't bring the character home, and then their family all laugh and tell you otherwise.

Nationality is not a universal human principle but an historical, local fact...Every nation, even a small one, has its own character, its own particular way of life and manner of speaking, feeling, thinking, and behaving. These distinctive features are the essence of nationality, the product of a nation's entire history and conditions of existence. Every nation, like every individual, is of necessity what it is, and has an unquestionable right to be itself. So-called national rights consist precisely of this.

With the Israel stories, it was for me the most surprising way the title would fit in. I kept thinking about, for a lot of my Israeli characters, what it was like to inherit such a complicated and symbiotic relationship to America and to feel how tangled that is, and it's nothing that they chose to do themselves.

I don't feel French at all. That was never really a concern, and it's limiting to think that way. I think Paris is more of a playground for international designers, so I don't really feel French. And I don't really want to feel French.

You're responsible for your own character to a degree, because when it comes to the final draft of the script, you might say, "Well, I think maybe I could add this here, add that there." But I find that I write just as well for the other characters as I do for myself. I think.

The character of the artist doesn't enter into the nature of the art. Eliot said that art is the escape from personality, which I think is right. We know that Velázquez embezzled money from the Spanish court and wanted power and so on, but you can't see this in his art.

I think there is no work of art which represents the spirit of a nation more surely than "Die Meister Singer" of Richard Wagner. Here is no plaything with local colour, but the raising to its highest power all that is best in the national consciousness of his country.

I have come to understand myself as more of a New York writer, or more of a woman writer, but I don't feel like that while I'm writing. But I think that most New Yorkers would object to calling me a New Yorker. I didn't grow up here.

I'm going to pull myself together for a while and think-try to determine what character of a woman I am; for, candidly, I don't know. By all the codes which I am acquainted with, I am a devilishly wicked specimen of the sex. But some way I can't convince myself that I am. I must think about it.

I think the '80s created me, in a way, when I look back on that time, but I don't necessarily think that a lot of my choices, and a lot of things that I did, and a lot of things that happened to me - or I let happen to me - were about that decade.

Sejal had not thought of her home, or of India as a whole, as cool. She was dimly aware, however, of a white Westerner habit of wearing other cultures like T-shirts—the sticker bindis on club kids, sindoor in the hair of an unmarried pop star, Hindi characters inked carelessly on tight tank tops and pale flesh. She knew Americans liked to flash a little Indian or Japanese or African. They were always looking for a little pepper to put in their dish.

Being American is, I think, a very difficult thing in art, because all the elements are European.