George Murray Quotations

I've often entertained paranoid suspicions about my fridge and what it's been doing to my poetry when I'm not looking, but I never even considered that my fan was thinking about me.

I still write the occasional short story, and poked at a novel once, but it's just not what I want to do.

I think, for me, humour needs to be used like a strong spice - sparingly.

With 'Carousel' I had an idea and it all came out quickly.

In fact, in some ways, I actually feel much more confident about the quality of Carousel than I do about The Cottage Builder's Letter: probably because of its cohesive nature.

A sequence works in a way a collection never can.

I feel as though I've fooled the world into thinking I'm an adult and now they're letting me procreate.

Even the people who have had success and made money writing these books of fiction seem to feel the need to pretend it's no big deal, or part of a natural progression from poetry to fiction, but often it's really just about the money, the perceived prestige.

I guess there is also an element of deliberate change involved. Each of my books has been, at least from my point of view, radically different from the last.

I think the main influence has been living in New York City. Aside from all the crap around 9/11, I find it very demanding to think amid all the noise and visual pollution.

I wanted to rock back and forth between myth and distant futures, yesterday, today, and tomorrow. It felt a bit like prophecy and a bit like storytelling.

I no longer feel pressure to produce fiction.

In my opinion, Al Moritz may be the best poet of his generation in Canada.

It's a bit of a crapshoot out there with young writers right now anyway.

The poetry community here has been extraordinarily welcoming.

The whole competition thing disturbs me. Not that I wasn't a part of it when I first started.

Humour is a fine line to walk in poetry, as in fiction. I just think it's harder to write. It's harder to keep the respect of the reader too.

I am certainly suffering from a modicum of performance anxiety.

I do try to let what is obviously unintended yet naturally good stay in.

I don't think there's anything wrong with someone having to read a poem twice. Or even a book.

I suppress the vast majority of what I write.

I was writing notes, but not composing poems. The Hunter began to develop out of this fragmented process.

I'm not interested in being easy anymore. Readable, yes. Easy, no.

New York was breaking my concentration and disintegrating my thoughts.

Then I discovered I loved writing poetry more than fiction.

I am still interested in the long or serial poem, but have written a few smaller things. I may start sending to journals again in a year or so... that's about it.

Well, we all start thinking we're going to be Romantic rock stars, but then reality hits and you realize no one reads you but other poets.

I started writing The Hunter in April of 2001, just as CBL was coming out.

Prizes seem like a great resource for new poets and writers to judge themselves against their peers, but of course, they aren't judging themselves.

This isn't TV. It doesn't have to give itself up entirely on the first read. There should still be a variety of levels and multiplicity of meaning.

The greatest thing about these contests, in my experience, is that they keep a lot of poor writing out of the overburdened journals' slush piles.