“I would not employ an author to referee a Ping-Pong match. By their very nature they are biased and bloody-minded. Better put a fox in a henhouse than to ask an author to judge his peers. (in a letter to the Governor General about the GA’s Literary Awards & his issue–among others–with the judging system, 1981)”

“A work in which there are theories is like an object which still has its price-tag on.”

“One is seduced and battered in turn. The result is presumably wisdom. Wisdom! We are clinging to life like lizards.Why is it so difficult to assemble those things that really matter in life and to dwell among them only? I am referring to certain landscapes, persons, beasts, books, rooms, meteorological conditions, fruits. In fact, I insist on it.A letter is like a poem, it leaps into life and shows very clearly the marks, perhaps I should say thumbprints, of an unwilling or unready composer.”

“It has been our experience that American houses insist on very comprehensive editing; that English houses as a rule require little or none and are inclined to go along with the author’s script almost without query. The Canadian practice is just what you would expect–a middle-of-the-road course. We think the Americans edit too heavily and interfere with the author’s rights. We think that the English publishers don’t take enough editorial responsibility. Naturally, then, we consider our editing to be just about perfect. There’s no doubt about it, we Canadians are a superior breed! (in a letter to author Margaret Laurence, dated May, 1960)”

“I write because I hate. A lot. Hard.”

“I’m very much aware in the writing of dialogue, or even in the narrative too, of a rhythm. There has to be a rhythm with it … Interviewers have said, you like jazz, don’t you? Because we can hear it in your writing. And I thought that was a compliment.”

“The bricoleur, says Levi-Strauss, is someone who uses ‘the means at hand,’ that is, the instruments he finds at his disposition around him, those which are already there, which had not been especially conceived with an eye to the operation for which they are to be used and to which one tries by trial and error to adapt them, not hesitating to change them whenever it appears necessary, or to try several of them at once, even if their form and their origin are heterogenous—and so forth. There is therefore a critique of language in the form of bricolage, and it has even been said that bricolage is critical language itself…If one calls bricolage the necessity of borrowing one’s concepts from the text of a heritage which is more or less coherent or ruined, it must be said that every discourse is bricoleur.”

“A writing cook and a cooking writer must be bold at the desk as well as the stove.”

“Write a lot and hit the streets. A writer who doesn’t keep up with what’s out there ain’t gonna be out there.”

“First you have nothing, and then, astonishingly, after ripping out your brain and your heart and betraying your friends and ex-lovers and dreaming like a zombie over the page till you can’t see or hear or smell or taste, you have something.”

“Novels for me are how I find out what’s going on in my own head. And so that’s a really useful and indeed critical thing to do when you do as many of these other things as I do.”

“Your personal writing can heal, grow, and transform your life. Give your words permission to change you.”

“The creatures may be fake, but the legends are definitely real. They’d fascinated a hundred kids before you, and they’ll fascinate a hundred more after.”

“An old racetrack joke reminds you that your program contains all the winners’ names. I stare at my typewriter keys with the same thought.”

“That’s why I’ve just gone on … collecting this particular kind of stuff – what you might call riff-raff. There’s not a book here, Lawford, that hasn’t at least a glimmer of the real thing in it – just Life, seen through a living eye, and felt. As for literature, and style, and all that gallimaufry, don’t fear for them if your author has the ghost of a hint of genius in his making.”