Novelty. Security. Novelty wouldn't be a bad title. It had the grandness of abstraction, alerting the reader that large and thoughtful things were to be bodied forth. As yet he had no inkling of any incidents or characters that might occupy his theme; perhaps he never would. He could see though the book itself, he could feel its closed heft and see it opened, white pages comfortably large and shadowed gray by print; dense, numbered, full of meat. He sensed a narrative voice, speaking calmly and precisely, with immense assurance building, building; a voice too far off for him to hear, but speaking. ("Novelty")

— John Crowley

Oh, God! how subtle he would have to be, how cunning... No paragraph, no phrase even of the thousands the book must contain could strike a discordant note, be less than fully imagined, an entire novel's worth of thought would have to be expended on each one. His attention had only to lapse for a moment, between preposition and object, colophon and chapter heading, for dead spots to appear like gangrene that would rot the whole. Silkworms didn't work as finely or as patiently as he must, and yet boldness was all, the large stroke, the end contained in and prophesied by the beginning, the stains of his clouds infinitely various but all signifying sunrise. Unity in diversity, all that guff. An enormous weariness flew over him. The trouble with drink, he had long known, wasn't that it started up these large things but that it belittled the awful difficulties of their execution. ("Novelty")

— John Crowley

Seen from inside the bar, the avenue, the stores opposite, the street glimpsed going off at right angles, the trapezoid of sky visible above the lower buildings, are altered by the tinted windows into an elsewhere, oddly peaceful, a desert or the interior of the sea. Sometimes when he has fallen asleep face upward in the sun, his dreams have taken on this quality of supernatural bright darkness. ("Novelty")

— John Crowley

She had always lived her best life in dreams. She knew no greater pleasure than that moment of passage into the other place, when her limbs grew warm and heavy and the sparkling darkness behind her lids became ordered and doors opened; when conscious thought grew owl's wings and talons and became other than conscious.

— John Crowley

Should he make a note? He felt for the smooth shape of his pen in his pocket. 'Theme for a novel: The contrary pull ..." No. If this notion were real, he needn't make a note. A notion on which a note had to be made would be stillborn anyway, his notebook was a parish register of such, born and dead on the same page. Let it live if it can. ("Novelty")

— John Crowley

Stories last longer: but only by becoming only stories.

— John Crowley

The better you tell an old story, the more you are talking about right now.

— John Crowley

The door of the bar opened, showing him a momentary oblong of true daylight, blankly white. A woman entered. He couldn't see her face as she crossed to the bar in front of the window, but he could see, drawn with exactitude by the light behind her, her legs within a summery white dress. When young he had supposed, without giving it much thought, that women didn't realize that sun behind them revealed them in this way; now he supposes that of course they must, and thinks about it. ("Novelty")

— John Crowley

The first inkling of this notion had come to him the Christmas before, at his daughter's place in Vermont. On Christmas Eve, as indifferent evening took hold in the blue squares of the windows, he sat alone in the crepuscular kitchen, imbued with a profound sense of the identity of winter and twilight, of twilight and time, of time and memory, of his childhood and that church which on this night waited to celebrate the second greatest of its feasts. For a moment or an hour as he sat, become one with the blue of the snow and the silence, a congruity of star, cradle, winter, sacrament, self, it was as though he listened to a voice that had long been trying to catch his attention, to tell him, Yes, this was the subject long withheld from him, which he now knew, and must eventually act on. He had managed, though, to avoid it. He only brought it out now to please his editor, at the same time aware that it wasn't what she had in mind at all. But he couldn't do better; he had really only the one subject, if subject was the word for it, this idea of a notion or a holy thing growing clear in the stream of time, being made manifest in unexpected ways to an assortment of people: the revelation itself wasn't important, it could be anything, almost. Beyond that he had only one interest, the seasons, which he could describe endlessly and with all the passion of a country-bred boy grown old in the city. He was beginning to doubt (he said) whether these were sufficient to make any more novels out of, though he knew that writers of genius had made great ones out of less. He supposed really (he didn't say) that he wasn't a novelist at all, but a failed poet, like a failed priest, one who had perceived that in fact he had no vocation, had renounced his vows, and yet had found nothing at all else in the world worth doing when measured by the calling he didn't have, and went on through life fatally attracted to whatever of the sacerdotal he could find or invent in whatever occupation he fell into, plumbing or psychiatry or tending bar. ("Novelty")

— John Crowley

There was after all no mystery in the end of love, no mystery but the mystery of love itself, which was large certainly but as real as grass, as natural and unaccountable as bloom and branch and their growth.

— John Crowley