Madeleine L'Engle Children Quotations

You have to write the book that wants to be written. And if the book will be too difficult for grown-ups, then you write it for children.

When we were children, we used to think that when we were grown-up we would no longer be vulnerable. But to grow up is to accept vulnerability... To be alive is to be vulnerable.

During the long drag of years before our youngest child went to school, my love for my family and my need to write were in acute conflict. The problem was really that I put two things first. My husband and children came first. So did my writing. Bump.

The uncommon man has done the impossible and there has been that much more light in the world because of it. Children respond to heroes by thinking creatively and sometimes in breaking beyond the bounds of the impossible in their turn, and so becoming heroes themselves.

When a child who has been conceived in love is born to a man and a woman, the joy of that birth sings throughout the universe. The joy of writing or painting is much the same, and the insemination comes not from the artist himself but from his relationship with those he loves, with the whole world. All real art is, in its true sense, religious; it is a religious impulse; there is not such thing as a non-religious subject.

I can't think of one great human being in the arts, or in history generally, who conformed, who succeeded, as education experts tell us children must succeed, with his peer group.

When we can play with the unself-conscious concentration of a child, this is: art: prayer: love.

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

The concentration of a small child at play is analogous to the concentration of the artist of any discipline. In real play, which is real concentration, the child is not only outside time, he is outside himself.

As the skipping rope hit the pavement, so did the ball. As the rope curved over the head of the jumping child, the child with the ball caught the ball. Down came the ropes. Down came the balls. Over and over again. Up. Down. All in rhythm. All identical. Like the houses. Like the paths. Like the flowers

What can we give a child when there is nothing left?

You've got to accept the fact that you are basically not teaching a subject, you are teaching children

The creative impulse can be killed, but it cannot be taught. What a teacher can do... in working with children, is to give the flame enough oxygen so that it can burn. As far as I'm concerned, this providing of oxygen is one of the noblest of all vocations.

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 are like children. They grow in their own way.

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.

Oh child, your language is so utterly simple and limited that it has the affect of extreme complication. -Aunt Beast

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.

The best way to guide children without coercion is to be ourselves.

We can surely no longer pretend that our children are growing up into a peaceful, secure, and civilized world. We've come to the point where it's irresponsible to try to protect them from the irrational world they will have to live in when they grow up. The children themselves haven't yet isolated themselves by selfishness and indifference; they do not fall easily into the error of despair; they are considerably braver than most grownups. Our responsibility to them is not to pretend that if we don't look, evil will go away, but to give them weapons against it.

Creative scientists and saints expect revelation and do not fear it. Neither do children. But as we grow up and we are hurt, we learned not to trust.

Itt iss Eevill…" "What is going to happen?" "Wee wwill cconnttinnue tto ffightt!"… "And we’re not alone, you know, children," came Mrs.Whatsit, the comforter. "…some of the best fighters have come from your own planet…" "Who have our fighters been?" Calvin asked. "Oh, you must know them, dear," Mrs.Whatsit said. Mrs.Who’s spectacles shone out at them triumphantly. "And the light shineth in the darkness; and the darkness comprehended it not.

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.

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. ...

To write for children at all is an act of faith.

All children are artists, and it is an indictment of our culture that so many of them lose their creativity, their unfettered imaginations, as they grow older.

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

I never want to lose the story-loving child within me, or the adolescent, or the young woman, or the middle-aged one, because all together they help me to be fully alive on this journey, and show me that I must be willing to go where it takes me, even through the valley of the shadow.

A self is not something static, tied up in a pretty parcel and handed to the child, finished and complete. A self is always becoming.

The primary needs can be filled without language. We can eat, sleep, make love, build a house, bear children, without language. But we cannot ask questions. We cannot ask, 'Who am I? Who are you? Why?

I am still every age that I have been. Because I was once a child, I am always a child. Because I was once a searching adolescent, given to moods and ecstasies, these are still part of me, and always will be.

What can we give a child when there is nothing left? All we have, I think, is the truth, the truth that will set him free, not limited, provable truth, but the open, growing, evolving truth that is not afraid.

How do we teach a child our own, or those in a classroom to have compassion: to allow people to be different; to understand that like is not equal; to experiment; to laugh; to love; to accept the fact that the most important questions a human being can ask do not have or need answers.

The journey homewards. Coming home. That's what it's all about. The journey to the coming of the Kingdom. That's probably the chief difference between the Christian and the secular artist--the purpose of the work, be it story or music or painting, is to further the coming of the kingdom, to make us aware of our status as children of God, and to turn our feet toward home.

When I am grappling with ideas which are radical enough to upset grown-ups, then I am likely to put these ideas into a story which will be marketed for children, because children understand what their parents have rejected and forgotten.

There are forces working in the world as never before in the history of mankind for standardization, for the regimentation of us all, or what I like to call making muffins of us, muffins all like every other muffin in the muffin tin. This is the limited universe, the drying dissipating universe that we can help our children to avoid by providing them with ‘explosive material capable of stirring up fresh life endlessly'.

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.