Top 75 Quotes & Sayings by Sri Lankan Authors

Explore popular quotes by famous Sri Lankan authors.
Sri Lanka is an island that everyone loves at some level inside themselves. A very special island that travellers, from Sinbad to Marco Polo, dreamed about. A place where the contours of the land itself forms a kind of sinewy poetry.
Mindfulness helps us freeze the frame so that we can become aware of our sensations and experiences as they are, without the distorting coloration of socially conditioned responses or habitual reactions.
On a personal level, I think the political situation in Sri Lanka is very much on the mind of Sri Lankans in Canada. They have family here and family back home, and it's possible they've lost members in any one of those tremendous, unbearable events there.
My writing has been shaped by the three countries - Sri Lanka, the Philippines and England - I have lived in. — © Romesh Gunesekera
My writing has been shaped by the three countries - Sri Lanka, the Philippines and England - I have lived in.
When I was growing up, I don't think I knew any other child who had been out of Sri Lanka.
For me, growing up, I felt like there was something fatally and tragically flawed in my nature and that it was my duty to try to avoid falling for that vice.
I find anonymous music frees me best. Chinese pop can be perfect. I can't decipher anything on the CD label; there is nothing I can hang on to.
We live in a world which is changing very fast. What seems contemporary now will be historical in two years.
Let come what comes, and accommodate yourself to that, whatever it is. If good mental images arise, that is fine. If bad mental images arise, that is fine, too. Look on all of it as equal, and make yourself comfortable with whatever happens.
You can learn not to want what you want, to recognize desires but not be controlled by them.
I was thinking of writers living in East Europe before the Berlin Wall came down. They wrote fantastic stuff but were dealing with a situation that was almost impossible to deal with, but they found a way.
You might want to write 'War and Peace,' but that might not be who you are. You might be better off with nursery rhymes.
When you have learned compassion for yourself, compassion for others is automatic.
The brain does not manufacture thoughts unless we stimulate it with habitual verbalizing. When we train ourselves by constant practice to stop verbalizing, the brain can experience things as they are.
A passenger on a road journey is in the hands of a driver; a reader embarking on a book is in the hands of a narrator. — © Romesh Gunesekera
A passenger on a road journey is in the hands of a driver; a reader embarking on a book is in the hands of a narrator.
To my mind, forgetting is a risky strategy for living. Memory is essential to us. It is DNA. We need to remember, and we need to imagine. That's why we have books, writing, fiction.
It seems to me that we live in dangerous times all over the world: we have the technology to remember everything but a desire to forget the troubling and to seek the safety of numbness. Fiction can do something about that.
A novel means a new way of doing a story. If you go back the origins of a novel, 'Clarissa' - that's not a novel; it's just a bunch of letters. But it isn't! Because it's organised in a particular way! A novel is what you make of it.
I never expected to earn money out of writing. In fact, the idea of getting published was too bourgeois. Then, in England, I realised that writing a book was something you could do without it being laughable.
I believe if a sentence is to retain its strength over time, it needs to be carefully made.
As a youngster, I think I said I wanted to be a journalist, but that's a disguise for being a writer.
I don't think there ever will be a biopic on me! I would much like some of my books to be made into films.
An aircraft cabin is a place that seems to be nowhere, but I find it steeped in the place left behind and the place ahead.
Who controls the present controls the past. There's a power structure, if you like, between the present and the past and the future, and that's what I'm interested in.
The nationalist movement supported Sinhala by suppressing Tamil; there were competing nationalisms. It was a fundamental mistake to make parallel streams in education - or a calculated political gamble. Politicians were playing with it.
Whatever attitudes we habitually use toward ourselves, we will use on others, and whatever attitudes we habitually use toward others, we will use on ourselves.
Watch the functioning of your own mind in a calm and detached manner so you can gain insight into your own behavior.
I like inventing things when I write rather than autobiography.
I don't think I knew I would be a writer. I wanted to become a writer, and I tried to write.
In London, I discovered a peculiar building by Holland Park where the globe was shrunk to fit a British perspective, but which had a library with Sri Lankan books I had never seen before.
Peace is not a thought, not a concept; it is a nonverbal experience.
Sri Lanka is a part of my background: it's not where I live, but it's what I want to explore. And I find it works very well to explore through fiction.
In the late 20th century, it became possible to travel between cultures, between the old world and the new, with great ease. So when you go back, you take the changed person with you who, in turn, changes things that otherwise might have stayed the same.
Sri Lankans of every kind, overwhelmingly the poorest, have been bombed by one side or the other for decades.
The present moment is changing so fast that we often do not notice its existence at all. Every moment of mind is like a series of pictures passing through a projector. Some of the pictures come from sense impressions. Others come from memories of past experiences or from fantasies of the future.
Meditation changes your character.
Imaginative writing, to me, is a way of discovering who we are and what we have to contend with; discovering what is out there and also what is not there. It enables me to think and explore and make something new with language while trying to make sense of our lives.
My first inkling of what the Commonwealth might really mean came only when I escaped the oddly British-tinged Asia I had known and went to live in the Philippines.
I want to keep an inner life alive and, with luck, somebody else's, too. — © Romesh Gunesekera
I want to keep an inner life alive and, with luck, somebody else's, too.
Two of the first plays I saw after I arrived in Britain were 'King Lear' in Liverpool, and 'Antony and Cleopatra' at Stratford. One was produced with hardly a backdrop and the other with gigantic scene changes. I was impressed by what connected the two: the words and their life beyond the stage.
Don't cling to anything and don't reject anything.
I grew up in Colombo but was lucky enough to spend a lot of time in the countryside as well. Although there was considerable turbulence, even in the 1950s, it did not throw a shadow on my consciousness.
To come to England in the 1970s was to return to this strange other-world of half-known history. I found the imperial architecture curiously familiar: the post office, the town hall, the botanic gardens.
Language is the means by which we negotiate our relationship with time.
I must believe that in words we will find what in fury we cannot.
I've met writers who wanted to be writers from the age of six, but I certainly had no feelings like that. It was only in the Philippines when I was about 15 that I started reading books by very contemporary writers of the Beatnik generation.
In writing, I try to find the right balance between momentum and infinity, truth and beauty.
With 'Noontide Toll', I wanted to cater to a single story but also collectively more than a single story.
The most appealing side-effect of Sri Lankan cricket from where I stand, shuffling words, has been linguistic.
I wrote 'The Match,' my cricket novel, between 2002 and 2005. In retrospect, almost an age of innocence in cricket and a time when it was rare to find the game deep in fiction.
In the sense that writing is to retrieve the past and stop the passing of time, all writing is about loss. It's not nostalgia in the sense of yearning to bring back the past, but recognition of the erosion of things as you live.
'Commonwealth' is not a word I ever used growing up in Colombo. There, in the late 1950s, it would have meant little more than New Zealand lamb and Anchor butter at the cold stores.
Whether we live in Sri Lanka or Malaysia or India, the U.K. or the U.S., we face similar issues of understanding, remembering the past that has made us and seeing the future we want.
You can't ever get everything you want. It is impossible. Luckily, there is another option: You can learn to control your mind, to step outside of the endless cycle of desire and aversion.
At 16, I started reading trashy stuff, anything slightly naughty and risque. — © Romesh Gunesekera
At 16, I started reading trashy stuff, anything slightly naughty and risque.
Novels are the means by which we can escape the moment we are imprisoned in, but at the same time, the roots of a novel are in the world in which it is written. We write, and we read, to understand the world we live in.
By silencing the mind, we can experience real peace. As long as various kinds of thoughts agitate the brain, we don't experience 100 percent peace.
I don't really know if things go from one life to another. I don't know if there's another life after this. I don't want to know.
I believe that everything we think and feel and do produces a result and that we have to deal with that result - that result is then something that produces another result, so on and so forth, so yes, I do believe in causality.
Writing is incredibly important to me as a way of handling the world, understanding how it works.
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