They tell me that So-and-So, who does not write prefaces, is no charlatan. Well, I am. I first caught the ear of the British public on a cart in Hyde Park, to the blaring of brass bands,and this . . . because . . . I am a natural-born mountebank.
I write differently from what I speak, I speak differently from what I think, I think differently from the way I ought to think, and so it all proceeds into deepest darkness.
I have even seen the writings suggesting that I am playing a deep game, that I am using the present turmoil to foist my fads on India, and am making religious experiments at India's expense. I can only answer that Satyagraha is made of sterner stuff. There is nothing reserved and nothing secret in it.
To get the right word in the right place is a rare achievement. To condense the diffused light of a page of thought into the luminous flash of a single sentence, is worthy to rank as a prize composition just by itself...Anybody can have ideas--the difficulty is to express them without squandering a quire of paper on an idea that ought to be reduced to one glittering paragraph.
If I were to write anything at all, it would turn out to be nothing but talk about movies. In other words, take 'myself,' subtract 'movies,' and the result is 'zero.'
The history of my life is the history of the struggle between an overwhelming urge to write and a combination of circumstances bent on keeping me from it.
For a true writer each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed.
A page of Addison or of Irving will teach more of style than a whole manual of rules, whilst a story of Poe's will impress upon the mind a more vivid notion of powerful and correct description and narration than will ten dry chapters of a bulky textbook.