Nadine Gordimer

Nadine Gordimer is a South African Jewish novelist and writer, winner of the 1991 Nobel Prize in literature and 1974 Booker Prize.

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• The truth isn't always beauty, but the hunger for it is.
  • "A Bolter and the Invincible Summer" ~ London Magazine (May 1963)

• The gap between the committed and the indifferent is a Sahara whose faint trails, followed by the mind's eye only, fade out in sand.
  • "Great Problems in the Street," in I Will Still Be Moved (1963) ed. by Marion Friedmann

• I opened the telegram and said, "He's dead —" and as I looked up into Graham Mill's gaze I saw that he knew who, before I could say.
  • The Late Bourgeois World (1966) First lines

• Among the group of people waiting at the fortress was a schoolgirl in a brown and yellow uniform holding a green eiderdown quilt and, by the loop at its neck, a red hot-water bottle.
  • Burger's Daughter (1979) First lines

• Writing is making sense of life. You work your whole life and perhaps you've made sense of one small area.
  • Interview with Jannika Hurwitt, The Paris Review Interviews: Writers at Work, Sixth Series (fall 1979/spring 1980)

• Responsibility is what awaits outside the Eden of Creativity.
  • "The Essential Gesture" (12 October 1984)

• The creative act is not pure. History evidences it. Sociology extracts it. The writer loses Eden, writes to be read and comes to realize that he is answerable.
  • The Tanner Lectures on Human Values (1985) ed. Sterling McMurrin

• Censorship is never over for those who have experienced it. It is a brand on the imagination that affects the individual who has suffered it, forever.
  • "Censorship and its Aftermath" ( June 1990)

• You can't change a regime on the basis of compassion. There's got to be something harder.
  • "'A feeling of realistic optimism': An interview with Nadine Gordimer" by Karen Lazar, Salmagundi 113 (Winter 1997)

• I shall never write an autobiography, I'm much too jealous of my privacy for that.
  • "The conscience of South Africa talks about her country's new racial order" (1998) by Dwight Garner

• Mostly I'm interviewed by white people, and identified with white society.
  • "The conscience of South Africa talks about her country's new racial order" (1998) by Dwight Garner

• Well, you know, in the fundamentalist milieu of the Afrikaners, there was a sense that they were a chosen people, that they were bringing civilization to the blacks.
  • "The conscience of South Africa talks about her country's new racial order" (1998) by Dwight Garner

• Art defies defeat by its very existence, representing the celebration of life, in spite of all attempts to degrade and destroy it.
  • As quoted at ContemporaryWriters.com

• Learning to write sent me falling, falling through the surface of the South African way of life.
  • As quoted at ContemporaryWriters.com

Writing and Being (1991)

Nobel Lecture (7 December 1991)

• In the beginning was the Word. The Word was with God, signified God's Word, the word that was Creation. But over the centuries of human culture the word has taken on other meanings, secular as well as religious. To have the word has come to be synonymous with ultimate authority, with prestige, with awesome, sometimes dangerous persuation, to have Prime Time, a TV talk show, to have the gift of the gab as well as that of speaking in tongues. The word flies through space, it is bounced from satellites, now nearer than it has ever been to the heaven from which it was believed to have come.

• Like the prisoners incarcerated with the jaguar in Borges' story, 'The God's Script', who was trying to read, in a ray of light which fell only once a day, the meaning of being from the marking on the creature's pelt, we spend our lives attempting to interpret through the word the readings we take in the societies, the world of which we are part. It is in this sense, this inextricable, ineffable participation, that writing is always and at once an exploration of self and of the world; of individual and collective being.

• Humans, the only self-regarding animals, blessed or cursed with this torturing higher faculty, have always wanted to know why.

• Since humans became self-regarding they have sought, as well, explanations for the common phenomena of procreation, death, the cycle of seasons, the earth, sea, wind and stars, sun and moon, plenty and disaster. With myth, the writer's ancestors, the oral story-tellers, began to feel out and formulate these mysteries, using the elements of daily life — observable reality — and the faculty of the imagination — the power of projection into the hidden — to make stories.

• Myth was the mystery plus the fantasy — gods, anthropomorphized animals and birds, chimera, phantasmagorical creatures — that posits out of the imagination some sort of explanation for the mystery. Humans and their fellow creatures were the materiality of the story, but as Nikos Kazantzakis once wrote, 'Art is the representation not of the body but of the forces which created the body.'

• There are many proven explanations for natural phenomena now; and there are new questions of being arising out of some of the answers. For this reason, the genre of myth has never been entirely abandoned, although we are inclined to think of it as archaic. If it dwindled to the children's bedtime tale in some societies, in parts of the world protected by forests or deserts from international megaculture it has continued, alive, to offer art as a system of mediation between the individual and being. And it has made a whirling comeback out of Space, an Icarus in the avatar of Batman and his kind, who never fall into the ocean of failure to deal with the gravity forces of life.

• Perhaps it is the positive knowledge that humans now possess the means to destroy their whole planet, the fear that they have in this way themselves become the gods, dreadfully charged with their own continued existence, that has made comic-book and movie myth escapist.

• The forces of being remain. They are what the writer, as distinct from the contemporary popular mythmaker, still engage today, as myth in its ancient form attempted to do.

• The writer in relation to the nature of perceivable reality and what is beyond — imperceivable reality — is the basis for all these studies, no matter what resulting concepts are labelled, and no matter in what categorized microfiles writers are stowed away for the annals of literary historiography. Reality is constructed out of many elements and entities, seen and unseen, expressed, and left unexpressed for breathing-space in the mind.

• Literary scholars end up being some kind of storyteller, too.

• Perhaps there is no other way of reaching some understanding of being than through art? Writers themselves don't analyze what they do; to analyze would be to look down while crossing a canyon on a tightrope.

• Any writer of any worth at all hopes to play only a pocket-torch of light — and rarely, through genius, a sudden flambeau — into the bloody yet beautiful labyrinth of human experience, of being.

• I have said that nothing factual that I write or say will be as truthful as my fiction. The life, the opinions, are not the work, for it is in the tension between standing apart and being involved that the imagination transforms both. Let me give some minimal account of myself. I am what I suppose would be called a natural writer. I did not make any decision to become one. I did not, at the beginning, expect to earn a living by being read. I wrote as a child out of the joy of apprehending life through my senses — the look and scent and feel of things; and soon out of the emotions that puzzled me or raged within me and which took form, found some enlightenment, solace and delight, shaped in the written word.

• I was evidence of the theory that books are made out of other books . . . But I did not remain so for long, nor do I believe any potential writer could.

• With adolescence comes the first reaching out to otherness through the drive of sexuality. For most children, from then on the faculty of the imagination, manifest in play, is lost in the focus on day dreams of desire and love, but for those who are going to be artists of one kind or another the first life-crisis after that of birth does something else in addition: the imagination gains range and extends by the subjective flex of new and turbulent emotions. There are new perceptions. The writer begins to be able to enter into other lives. The process of standing apart and being involved has come.

• Both Borges and Sartre, from their totally different extremes of denying literature a social purpose, were certainly perfectly aware that it has its implicit and unalterable social role in exploring the state of being, from which all other roles, personal among friends, public at the protest demonstration, derive. Borges was not writing for his friends, for he published and we all have received the bounty of his work. Sartre did not stop writing, although he stood at the barricades in 1968.

• Camus dealt with the question best. He said that he liked individuals who take sides more than literatures that do. 'One either serves the whole of man or does not serve him at all. And if man needs bread and justice, and if what has to be done must be done to serve this need, he also needs pure beauty which is the bread of his heart.' So Camus called for 'Courage in and talent in one's work.' And Márquez redefined tender fiction thus: The best way a writer can serve a revolution is to write as well as he can.
  I believe that these two statements might be the credo for all of us who write. They do not resolve the conflicts that have come, and will continue to come, to contemporary writers. But they state plainly an honest possibility of doing so, they turn the face of the writer squarely to her and his existence, the reason to be, as a writer, and the reason to be, as a responsible human, acting, like any other, within a social context.

• Being here: in a particular time and place. That is the existential position with particular implications for literature.

• Most imprisoned writers have been shut away for their activities as citizens striving for liberation against the oppression of the general society to which they belong. Others have been condemned by repressive regimes for serving society by writing as well as they can; for this aesthetic venture of ours becomes subversive when the shameful secrets of our times are explored deeply, with the artist's rebellious integrity to the state of being manifest in life around her or him; then the writer's themes and characters inevitably are formed by the pressures and distortions of that society as the life of the fisherman is determined by the power of the sea.

• There is a paradox. In retaining this integrity, the writer sometimes must risk both the state's indictment of treason, and the liberation forces' complaint of lack of blind commitment.

• The writer must take the right to explore, warts and all, both the enemy and the beloved comrade in arms, since only a try for the truth makes sense of being, only a try for the truth edges towards justice just ahead of Yeats's beast slouching to be born.

• The writer is of service to humankind only insofar as the writer uses the word even against his or her own loyalties, trusts the state of being, as it is revealed, to hold somewhere in its complexity filaments of the cord of truth, able to be bound together, here and there, in art: trusts the state of being to yield somewhere fragmentary phrases of truth, which is the final word of words, never changed by our stumbling efforts to spell it out and write it down, never changed by lies, by semantic sophistry, by the dirtying of the word for the purposes of racism, sexism, prejudice, domination, the glorification of destruction, the curses and the praise-songs.

Speech at the Nobel Banquet (1991)

Full text (10 December 1991)

• When the six-year-old daughter of a friend of mine overheard her father telling someone that I had been awarded the Nobel Prize, she asked whether I had ever received it before. He replied that the Prize was something you could get only once. Whereupon the small girl thought a moment: 'Oh' she said, 'so it's like chicken-pox.'

• I certainly find being the recipient at this celebratory dinner more pleasurable and rewarding than chicken-pox, having now in my life experienced both. But the small girl was not entirely wrong. Writing is indeed, some kind of affliction in its demands as the most solitary and introspective of occupations.

• We must live fully in order to secrete the substance of our work, but we have to work alone.

• When I began to write as a very young person in a rigidly racist and inhibited colonial society, I felt, as many others did, that I existed marginally on the edge of the world of ideas, of imagination and beauty. These, taking shape in poetry and fiction, drama, painting and sculpture, were exclusive to that distant realm known as 'overseas'.

• What we had to do to find the world was to enter our own world fully, first. We had to enter through the tragedy of our own particular place. If the Nobel awards have a special meaning, it is that they carry this concept further. In their global eclecticism they recognize that no single society, no country or continent can presume to create a truly human culture for the world. To be among laureates, past and present, is at least to belong to some sort of one world.