Annie Dillard Quotes

There must be bands of enthusiasts for everything on earth-fanatics who shared a vocabulary a batch of technical skills and equipment and perhaps a vision of some single slice of the beauty and mystery of things of their complexity fascination and unexpectedness.

In literary history generation follows generation in a rage.

A schedule defends from chaos and whim. It is a net for catching days. It is a scaffolding on which a worker can stand and labor with both hands at sections of time.

Evidently, a given object took no particular amount of time to draw; instead the artist took the time, or didn’t take it, at pleasure. And,similarly, things themselves possessed no fixed and intrinsic amount of interest; instead things were interesting as long as you had attention to give them. How long does it take to draw a baseball mitt? As much time as you care to give it. Not an infinite amount of time, but more time than you first imagined. For many days, so long as you want to keep drawing that mitt, and studying that mitt, there will always be a new and finer layer of distinctions to draw out and lay in. Your attention discovers—seems thereby to produce—an array of interesting features in any object, like a lamp.

Geography is the key, the crucial accident of birth. A piece of protein could be a snail, a sea lion, or a systems analyst, but it had to start somewhere. This is not science; it is merely metaphor. And the landscape in which the protein "starts" shapes its end as surely as bowls shape water.

The writing that so thrills and exhilarates you, as if you were dancing right next to the band, is barely audible to anyone else.

The most demanding part of living a lifetime as an artist is the strict discipline of forcing oneself to work steadfastly along the nerve of one’s own most intimate sensitivity.

The feeling that the work is magnificent, and the feeling that it is abominable, are both mosquitoes to be repelled, ignored, or killed, but not indulged.