A'Lelia Walker did not subsidize specific writers, but she provided a place for all kinds of people to gather. She was one of the few blacks who had the money to allow her to entertain in the large scale.
A writer wants something more than money for his work: he wants permanence.
In a time of crisis, there is rational tendency to turn to the writer.
World War II was a trauma that paralysed writers. It was something metaphysical, diabolical.
I figure that that has a ten year cycle. At the end of that ten years, I began to get worried that I would run into what is known as the writer's block, the feeling of not being able to do these things.
But, somewhere in there, I did have the thought that this really fits in with my thinking about what I wanted to do; with what has to be done by a writer in order to stay alive as a writer.
You have to remember that I was a bright but simple fellow from Canada who seldom, if ever, met another writer, and then only a so-called literary type that occasionally sold a story and meanwhile worked in an office for a living.
There is always a certain leap of faith that editors have made with their nonfiction writers. If the trust is broken, things can get very embarrassing for the writers and the publisher.
If you want to teach women to be great writers, you should show them the best, and the best was often done by men. It was more often done by men than by women, if we're going to be truthful.
Reading a newspaper is like reading someone's letters, as opposed to a biography or a history. The writer really does not know what will happen. A novelist needs to feel what that is like.