Mark Helprin

Mark Helprin
Mark Helprinis an American novelist, journalist, conservative commentator, Senior Fellow of the Claremont Institute for the Study of Statesmanship and Political Philosophy, Fellow of the American Academy in Rome, and Member of the Council on Foreign Relations. While Helprin's fictional works straddle a number of disparate genres and styles, he has stated that he "belongs to no literary school, movement, tendency, or trend"...
NationalityAmerican
ProfessionNovelist
Date of Birth28 June 1947
CountryUnited States of America
My father ran London Films. He made films like 'The Red Shoes,' 'The Third Man.' And he had had a long career in the film business, which was bifurcated with a career in intelligence. He had to deal with gangsters, and sometimes he would take me with him. Also, I went to school with their children.
Heavy blizzards start as a gentle and persistent snow.
I've imagined great victories, and I've imagined great races. The races are better.
There's something about rushing water that I can watch for hours and feel as if I need to do nothing more. It's alive in a way that's greater than any description of it...
Of course, you would have to be insane to hope your child grows up to be a playwright or poet. Given the odds, you would have to be quite cavalier about your children's future.
Accident is as much a part of fiction as anything else, symbolic of the grace that, along with will, conspires to put words on the page.
When you die, you know, you hear the insistent pounding that defines all things, whether of matter or energy, since there is nothing in the universe, really, but proportion.
A tranquil city of good laws, fine architecture, and clean streets is like a classroom of obedient dullards, or a field of gelded bulls - whereas a city of anarchy is a city of promise.
How the holy and the profane mix in the light of day and at the end of life is sometimes the most beautiful thing in this world and a compassionate entry into the next. After failure and defeat, a concentration upon certain beauties, though forever lost and unretrievable, can lift the wounded past roundedness and the dying past dying, protecting them with an image, still and bright, that will ride with them on their long ride, never to fade and never to retreat.
No one ever said that you would live to see the repercussions of everything you do, or that you have guarantees, or that you are not obliged to wander in the dark, or that everything will be proved to you and neatly verified like something in science. Nothing is: at least nothing that is worthwhile.
It was a good speech, but the reaction was due to the fact that politics are madness, and even if one does not know it, a country in electoral season experiences flares of lunacy like the great storms that sometimes march across the golden surface of the sun.
They were dancing around the fountain, arm in arm, in an old Dutch dance, their cheeks touching, their hands entwined. They had no music; they hummed. And there was no reason for them to be dancing that Peter Lake could see, except that it was an exceptionally beautiful night.
Why do people resist [engines, bridges, and cities] so? They are symbols and products of the imagination, which is the force that ensures justice and historical momentum in an imperfect world, because without imagination we would not have the wherewithal to challenge certainty, and we could never rise above ourselves.
Then the bow orchestra began to play an apocalyptically beautiful canon, one of those pieces in which, surely, the composer simply transcribed what was given, and trembled in awe of the hand that was guiding him.