Madeleine L'Engle Book Quotations

With each book I write, I become more and more convinced that the books have a life of their own, quite apart from me.

A book comes and says, 'Write me.' My job is to try to serve it to the best of my ability, which is never good enough, but all I can do is listen to it, do what it tells me and collaborate.

if a book is not good enough for a grownup, it is not good enough for a child.

My writing knows more than I know. What a writer must do is listen to her book. It might take you where you don’t expect to go. That’s what happens when you write stories. You listen and you say ‘a ha,’ and you write it down. A lot of it is not planned, not conscious; it happens while you’re doing it. You know more about it after you’re done.

A book, too, can be a star, a living fire to lighten the darkness, leading out into the expanding universe.

I believe that good questions are more important than answers, and the best children's books ask questions, and make the readers ask questions. And every new question is going to disturb someone's universe.

When we look at a painting, or hear a symphony, or read a book, and feel more Named, then, for us, that work is a work of Christian art. But to look at a work of art and then to make a judgment as to whether or not it is art, and whether or not it is Christian, is presumptuous. It is something we cannot know in any conclusive way. We can know only if it speaks within our own hearts, and leads us to living more deeply with Christ in God.

It is all, as usual, paradox. I have to use what intellect I have in order to write books, but I write the kind of books I do in order that I may try to set down glimpses of things that are on the other side of the intellect. We do not go around and discard the intellect, but we must go through and beyond it.

I don't understand it any more than you do, but one thing I've learned is that you don't have to understand things for them to be.

A truly great work of art breaks beyond the bounds of the period and culture in which it is created, so final judgement on a current book has to be deferred until it can be seen outside this present moment.

You have to write the book that wants to be written,

if I have something I want to say that is too difficult for adults to swallow, then I will write it in a book for children. ...

When I have something to say that I think will be too difficult for adults, I write it in a book for children. Children are excited by new ideas; they have not yet closed the doors and windows of their imaginations. Provided the story is good... nothing is too difficult for children.

A book comes and says, 'Write me.

We don't want to feel less when we have finished a book; we want to feel that new possibilities of being have been opened to us. We don't want to close a book with a sense that life is totally unfair and that there is no light in the darkness; we want to feel that we have been given illumination.

It's not my brain that's writing the book, it's these hands of mine.

If it's not good enough for adults, it's not good enough for children. If a book that is going to be marketed for children does not interest me, a grownup, then I am dishonoring the children for whom the book is intended, and I am dishonoring books. And words.

In reading we must become creators. Once the child has learned to read alone, and can pick up a book without illustrations, he must become a creator, imagining the setting of the story, visualizing the characters, seeing facial expressions, hearing the inflection of voices. The author and the reader "know" each other; they meet on the bridge of words.

The truth is that I hate to think about other people reading my books," Miranda said. "It's like watching someone go through the box of private stuff that I keep under my bed.

I used to feel guilty about spending morning hours working on a book; about fleeing to the brook in the afternoon. It took several summers of being totally frazzled by September to make me realize that this was a false guilt. I'm much more use to family and friends when I'm not physically and spiritually depleted than when I spend my energies as though they were unlimited. They are not. The time at the typewriter and the time at the brook refresh me and put me into a more workable perspective.

One reason nearly half my books are for children is the glorious fact that the minds of children are still open to the living word; in the child, nightside and sunside are not yet separated; fantasy contains truths which cannot be stated in terms of proof.

Stories have a richness that goes way beyond fact. My writing knows more than I know. What a writer must do is listen to her book. It might take you where you don't expect to go.