Jeanette Winterson, Why Be Happy When You Could Be Normal?

"She knew full well that writers were sex-crazed bohemians who broke the rules and didn't go out to work."

"Adoption is outside. You act out what it feels like to be the one who doesn't belong. And you act it out by trying to do to others what has been done to you. It is impossible to believe anyone loves you for yourself. I never believed that my parents loved me. I tried to love them but it didn't work. It has taken me a long time to learn how to love - both the giving and the receiving. I have written about love obsessively, forensically, and I know/knew it as the highest value. I loved God of course, in the early days, and God loved me. That was something. And I loved animals and nature. And poetry. People were the problem. How do you love another person? How do you trust another person to love you? I had no idea. I thought that love was loss. Why is the measure of love loss?"

"I did not realise that when money becomes the core value, then education drives towards utility or that the life or the mind will not be counted as good unless it produces measurable results. That public services will no longer be important. That an alternative life to getting and spending will become very difficult as cheap housing disappears. That when communities are destroyed only misery and intolerance are left."

"So when people say that poetry is a luxury, or an option, or for the educated middle classes, or that it shouldn't be read in school because it is irrelevant, or any of the strange and stupid things that are said about poetry and its place in our lives, I suspect that the people doing the saying have had things pretty easy. A tough life needs a tough language - and that is what poetry is. That is what literature offers - a language powerful enough to to say how it is. It isn't a hiding place. It is a finding place."

"The wider we read the freer we become."

"Six books… my mother didn’t want books falling into my hands. It never occurred to her that I fell into the books – that I put myself inside them for safe keeping."

"I wasn’t reading poetry because my aim was to work my way through English Literature in Prose A–Z. But this was diff"

"Yes, the stories are dangerous, she was right. A book is a magic carpet that flies you off elsewhere. A book is a door. You open it. You step through. Do you come back?"

"Books, for me, are a home. Books don't make a home - they are one, in the sense that just as you do with a door, you open a book, and you go inside. Inside there is a different kind of time and space. There is warmth there too - a hearth. I sit down with a book and I am warm."

"I had lines inside me, a string of guiding lights. I had language. Fiction and poetry are doses, medicines. What they heal is the rupture reality makes on the imagination. I had been damaged, and a very important part of me had been destroyed - that was my reality, the facts of my life. But on the other side of the facts was who I could be, how I could feel. And as long as I had words for that, images for that, stories for that, then I wasn't lost."

"There are two kinds of writing the one you write and the one that writes you. The one that writes you is dangerous. You go where you don't want to go. You look where you don't want to look."

"I wasn’t reading poetry because my aim was to work my way through English Literature in Prose A–Z. But this was different. I started to cry.(…)The unfamiliar and beautiful play made things bearable that day, and the things it made bearable were another failed family—the first one was not my fault, but all adopted children blame themselves. The second failure was definitely my fault. I was confused about sex and sexuality, and upset about the straightforward practical problems of where to live, what to eat, and how to do my A levels. I had no one to help me, but the T. S. Eliot helped me. So when people say that poetry is a luxury, or an option, or for the educated middle classes, or that it shouldn’t be read at school because it is irrelevant, or any of the strange and stupid things that are said about poetry and its place in our lives, I suspect that the people doing the saying have had things pretty easy. A tough life needs a tough language—and that is what poetry is. That is what literature offers—a language powerful enough to say how it is. It isn’t a hiding place. It is a finding place."

"I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words."

"A tough life needs a tough language—and that is what poetry is. That is what literature offers—a language powerful enough to say how it is."

"I know now, after fifty years, that the finding/losing, forgetting/remembering, leaving/returning, never stops. The whole of life is about another chance, and while we are alive, till the very end, there is always another chance."

"If the sun is shining, stand in it- yes, yes, yes. Happy times are great, but happy times pass- they have to- because time passes. The pursuit of happiness is more elusive; it is life-long, and it is not goal-centred. What you are pursuing is meaning- a meaningful life... There are times when it will go so wrong that you will be barely alive, and times when you realise that being barely alive, on your own terms, is better than living a bloated half-life on someone else's terms."

"Our own front door can be a wonderful thing, or a sight we dread; rarely is it only a door."

"Truth for anyone is a very complex thing. For a writer, what you leave out says as much as those things you include. What lies beyond the margin of the text? The photographer frames the shot; writers frame their world. Mrs Winterson objected to what I had put in, but it seemed to me that what I had left out was the story’s silent twin. There are so many things that we can’t say, because they are too painful. We hope that the things we can say will soothe the rest, or appease it in some way. Stories are compensatory. The world is unfair, unjust, unknowable, out of control. When we tell a story we exercise control, but in such a way as to leave a gap, an opening. It is a version, but never the final one. And perhaps we hope that the silences will be heard by someone else, and the story can continue, can be retold. When we write we offer the silence as much as the story. Words are the part of silence that can be spoken. Mrs Winterson would have preferred it if I had been silent. Do you remember the story of Philomel who is raped and then has her tongue ripped out by the rapist so that she can never tell? I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words. I needed words because unhappy families are conspiracies of silence. The one who breaks the silence is never forgiven. He or she has to learn to forgive him or herself."

"Why is the measure of love loss?"