"Writing is a passion I have never understood, yet a storyteller is all I have ever wanted to be"
About this Quote
Ruth Park splits “writing” from “storytelling” with the calm precision of someone who’s spent a lifetime watching the industry romanticize the wrong thing. “Writing is a passion I have never understood” punctures the familiar myth that real authors are driven by some feverish love of sentences, some sacred addiction to the page. Park doesn’t deny craft; she denies the glamour story we tell about craft. The word “passion” is doing double duty: it’s the badge others pin on writers, and it’s also the kind of self-consuming identity Park refuses to perform.
Then she pivots: “yet a storyteller is all I have ever wanted to be.” That “yet” doesn’t apologize; it clarifies her allegiance. Storytelling is older than publishing, older than the solitary genius pose. It’s social, pragmatic, audience-facing. Park’s subtext is that the work isn’t a romance with language, it’s a commitment to narrative responsibility: to render lives, places, class tensions, childhoods, domestic economies - the material a culture often calls “ordinary” until a novelist proves it isn’t.
Context matters here because Park’s career sits in a period when literary prestige often favored the experimental, the self-mythologizing, the loudly “serious.” Park’s stance reads like a quiet refusal of that hierarchy. She frames herself less as an artist possessed and more as a maker with a clear target: the story. The intent is almost ethical: don’t confuse the tool for the purpose, and don’t confuse a marketable persona for the real hunger that drives a book.
Then she pivots: “yet a storyteller is all I have ever wanted to be.” That “yet” doesn’t apologize; it clarifies her allegiance. Storytelling is older than publishing, older than the solitary genius pose. It’s social, pragmatic, audience-facing. Park’s subtext is that the work isn’t a romance with language, it’s a commitment to narrative responsibility: to render lives, places, class tensions, childhoods, domestic economies - the material a culture often calls “ordinary” until a novelist proves it isn’t.
Context matters here because Park’s career sits in a period when literary prestige often favored the experimental, the self-mythologizing, the loudly “serious.” Park’s stance reads like a quiet refusal of that hierarchy. She frames herself less as an artist possessed and more as a maker with a clear target: the story. The intent is almost ethical: don’t confuse the tool for the purpose, and don’t confuse a marketable persona for the real hunger that drives a book.
Quote Details
| Topic | Writing |
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