Elizabeth Bowen
Elizabeth Bowen
Elizabeth Bowen, CBEwas an Anglo-Irish novelist and short story writer...
NationalityIrish
ProfessionNovelist
Date of Birth7 June 1899
CountryIreland
real character years
No one of the characters in my novels has originated, so far as I know, in real life. If anything, the contrary was the case: persons playing a part in my life--the first twenty years of it--had about them something semi-fictitious.
mean law visionaries
The short story is at an advantage over the novel, and can claim its nearer kinship to poetry, because it must be more concentrated, can be more visionary, and is not weighed down (as the novel is bound to be) by facts, explanation, or analysis. I do not mean to say that the short story is by any means exempt from the laws of narrative: it must observe them, but on its own terms.
dance kind conscious
... in general, the Anglo-Irish do not make good dancers; they are too spritely and conscious; they are incapable of one kind of trance or of being seemingly impersonal. And, for the formal, pure dance they lack the formality: about their stylishness (for they have stylishness) there is something impromptu, slightly disorderly.
power void dangerous
...the power-loving temperament is more dangerous when it either prefers or is forced to operate in what is materially a void. Wehave everything to dread from the dispossessed.
war people world
Everything is very quiet, the streets are never crowded, and the people one dislikes are out of town.
mind plot use
Each piece of dialogue MUST be "something happening". . .The "amusing" for its OWN sake should above all be censored. . .The functional use of dialogue for the plot must be the first thing in the writer's mind. Where functional usefulness cannot be established, dialogue must be left out.
spring writing giving
The story must spring from an impression or perception pressing enough to have made the writer write. It should magnetize the imagination and give pleasure.
numbers novelists purpose
But in general, for the purposes of most novelists, the number of objects genuinely necessary for. . .describing a scene will be found to be very small.
running winning long
I suspect victims; they win in the long run.
opera lasts hunger
Almost everyone admits to hunger during the Opera.... Hunger is so exalting that during a last act you practically levitate.
people care pity
I pity people who do not care for Society. They are poorer for the oblation they do not make.
house nerves looks
Ghosts, we hope, may be always with us--that is, never too far out of the reach of fancy. On the whole, it would seem they adapt themselves well, perhaps better than we do, to changing world conditions--they enlarge their domain, shift their hold on our nerves, and, dispossessed of one habitat, set up house in another. The universal battiness of our century looks like providing them with a propitious climate ...
baby peace war
Almost everybody wore a curious limpidity of expression, like newborn babies or souls just after death. Dazed but curiously dignified.... after a criseof hysterical revulsion and tiredness, I passed beyondand became entered by a rather sublime feeling.
crazy humanity behaviour
... into the novel goes such taste as I have for rational behaviour and social portraiture. The short story, as I see it to be, allows for what is crazy about humanity: obstinacies, inordinate heroisms, "immortal longings.