15 Wonderfully Wise Quotes From Judy Blume

Evan Agostini, Getty Images
Evan Agostini, Getty Images

Judy Blume was the queen of the YA novel before the concept even existed, inspiring generations of passionate fans—and a fair share of dissenters—in her nearly 50-year career. Here are just a few of our favorite thoughts about books, writing, and life from the iconic author, who turns 80 years old today.

1. ON BEING ONE OF THE MOST BANNED AUTHORS OF THE 20TH CENTURY

“I’ll tell you what I make of that—that censors, those who want to censor, they don’t come after books until they know that kids really like them, and once kids like a book, it’s like, ‘There must be something wrong with this book, because why do the kids like it.’ You look at the banned books and you’ll see that they’re popular books with kids.”

— From a 2012 interview with PBS

2. ON THE EFFECTS OF CENSORSHIP

“But it's not just the books under fire now that worry me. It is the books that will never be written. The books that will never be read. And all due to the fear of censorship. As always, young readers will be the real losers.”

— From Blume's official website

3. WHY SHE WORRIES ABOUT KIDS THESE DAYS

“Yes, I was a great daydreamer. You know what I worry about? I worry that kids today don't have enough time to just sit and daydream. I was a great pretender, always making up stories inside my head. Stories and stories and stories, but I never told anyone.”

— From an interview with Scholastic

4. ON BEING A WRITER

"Everybody who writes fiction draws from their own life, but if it ended there, it would be very boring. When I talk to kids and they say, 'How do you become a writer?', well, I don't know that you become a writer: you just are. I always had stories, they were always there inside my head."

— From a 2014 Interview with The Guardian

5. ON WRITING

"Writing saved my life. It saved me, it gave me everything, it took away all my illnesses.”

— From a 2014 Interview with The Guardian

6. ON THE CREATIVE PROCESS

“I don't understand the creative process. For years I would say one thing when kids would ask where I got my ideas. Because I was forced to think up something even though I don't really know. And now I'm just saying to people, 'I don't know. I don't understand how it works. How do I know?'”

— From an interview with January Magazine

7. ON DEALING WITH REJECTION

"It's all about your determination, I think, as much as anything. There are a lot of people with talent, but it's that determination. I mean, you know, I would cry when the rejections came in—the first couple of times, anyway—and I would go to sleep feeling down, but I would wake up in the morning optimistic and saying, 'Well, maybe they didn't like that one, but wait till they see what I'm going to do next.' And I think you just have to keep going."

— From a 2011 interview with NPR

8. ON YA AUTHORS AND BOOKS

“[My husband] George and I listened … to the first Hunger Games and we loved it. And we couldn’t wait to get my car and come home. And when we came home, I’m not sure if we’d quite finished, and we sat in the car until we finished. I did not read any of the others. I had no interest in Twilight. But I did see the first movie.”

— From a 2014 interview with Lena Dunham through KCRW

9. ON THE PROS AND CONS OF TWITTER

“I like it. It’s a tremendous—I don’t want to say waste of time, but it also … what can I say? I enjoy reading the people I follow and discovering new people. It’s a lot of fun. I get a lot of laughs from it. And it connects you; it’s nice.”

— From a 2013 interview with Vanity Fair

10. ON GETTING KIDS TO READ

“Whatever gets them excited about reading is good! If you want them to read my books don't tell them so. Maybe just leave around a paperback with a new cover and say, 'I'm not sure you're ready for that.'"

— From a 2013 Reddit AMA

11. ON HER LITERARY INSPIRATIONS

“I was so inspired by Beverly Cleary's funny and wonderful books. And also, Louise Fitzhugh's Harriet the Spy. And E. L. Konigsberg's first book, Jennifer Hecate. And my favorite books from when I was young, the Betsy-Tacy books.”

— From an interview with Scholastic

12. ON "MARGARET" AND TEENAGED JUDY

“Margaret is fiction, but based on the kind of twelve year old I was. Growing up, we did have a club like The PTKs. And Margaret's interests and concerns were similar to mine. I was small and thin when thin wasn't in. I was a late developer and was anxious to grow like my friends. Margaret was right from my own sixth grade experience. I wanted to tell the truth as I knew it.”

— From an interview with Scholastic

13. ON HOW BOOKS HELP US COMMUNICATE

“I’ve never really thought in terms of taboos. I think that books can really help parents and kids talk together about difficult subjects. I’ve always felt that way. The parent reads the book. The kid reads the book and then they can talk about the characters instead of talking about themselves. You know there’s a connection even if you don’t talk about it when you read the same books.”

— From a 2014 interview with Lena Dunham through KCR

14. ON THREE THINGS THAT WOULD SURPRISE US ABOUT HER

“I’m phobic about thunderstorms. Writing is incredibly hard for me. I’m not the world’s best mother, though kids always assume I must be. And I love a good cupcake. (I know, that makes four things, but I’m hungry and wishing I had that cupcake.)”

— From a 2012 interview with Smithsonian Magazine

15. ON REVISITING OLD CHARACTERS

"I don't want to rewrite anything. My characters are who they are. For years, people have written and asked me to let Margaret go through menopause. And it's like, 'Hey guys! Margaret is 12 and she is going to stay 12. That's who she is.' No, I don't want to rewrite any of them."

— From a 2018 interview with NPR

The Gruesome Medieval Masquerade That Inspired Edgar Allan Poe

Hulton Archive/Getty Images
Hulton Archive/Getty Images

In March 1849, Edgar Allan Poe published a short story with one of the most macabre dénouements in his entire body of work. Called Hop-Frog, it was the tale of an eponymous court jester who endures repeated humiliations from an abusive king and his ministers before finally exacting his revenge. Like other works of the great horror master, it may have been inspired by historical events—in this case, by a particularly grisly episode from 14th-century France.

In Poe's short story, both Hop-Frog and Trippetta are people with dwarfism stolen from their respective home countries and brought as presents for the king from one of his generals. Hop-Frog is described as having a disability that makes him walk "by a sort of interjectional gait—something between a leap and a wriggle." Forced to be the court's jester, he's the target of the king's practical jokes, and while enduring near-constant humiliations grows close to Trippetta, whose status at the court isn't much better.

One day, the king demands a masquerade, and as the evening draws near, he asks Hop-Frog what to wear. After a scene in which he and Trippetta are abused once again, Hop-Frog sees the perfect chance for revenge. He suggests the monarch and his ministers dress as escaped orangutans chained together, which he calls "a capital diversion—one of my own country frolics—often enacted among us, at our masquerades." The king and his ministers love the idea of scaring their guests, and especially the women. The jester carefully prepares their costumes, saturating tight-fitting fabric with tar and plastering flax on top to resemble the hair of the beasts.

On the evening of the masquerade, the men enter in their special outfits just after midnight. The guests are duly terrified, and amid the hubbub, Hop-Frog attaches the chain that surrounds the group to one hanging from the ceiling that normally holds a chandelier. As the men are drawn upwards, he brings a flame close to their bodies, pretending to the crowd that he's trying to figure out who the disguised men really are. The flax and tar ignite quickly and the noblemen burn to death, suspended above the crowd. "The eight corpses swung in their chains," Poe writes, "a fetid, blackened, hideous, and indistinguishable mass."

Bernard Picart, "Bal des Ardents"
Bernard Picart, "Bal des Ardents"
Rijksmuseum, Europeana // Public Domain

The gruesome scene was likely inspired by a historical event: the Bal des Ardents (literally, "the Ball of the Burning Ones"). This obscure episode took place during the reign of Charles VI of France (1380-1422), known to posterity as "Charles the Mad." His periods of illness are well-documented by contemporary chroniclers, who tell us that he ran through his castle howling like a wolf, failed to recognize his own wife and children, and forbade anyone to touch him because he believed he was made of glass. After his first bout in 1392, when delirium led him to kill several knights, his physician prescribed "amusements, relaxations, sports, and pastimes."

Meanwhile, the royal council was controlled by his brother Louis d'Orléans and his uncle the Duke of Burgundy—who both had their eyes set on the throne. It was also the middle of the Hundred Years' War, and England was seen as a severe threat to national stability. In spite of the unrest, on January 28, 1393, Charles's wife, Queen Isabeau of Bavaria, held a ball in the royal palace of Saint-Pol to celebrate the third marriage of her lady-in-waiting Catherine de Fastaverin. The plan was also to entertain the king, as the royal physician had prescribed. One of the guests, the knight Sir Hugonin (sometimes Huguet) de Guisay, suggested that a group of nobles dress as "wild men" or "wood savages," mythical creatures associated with nature and pagan beliefs. The king liked the idea so much that he decided to join in as one of the masked dancers.

The six noblemen wore garments made of linen covered in pitch and stuck-on clumps of flax, so they appeared "full of hair from the top of the head to the sole of the foot," according to contemporary historian Jean Froissart. Poe preserved these details in Hop-Frog, though his characters weren't dressed as wild men, but as orangutans—an animal he had also used in The Murders in the Rue Morgue (1841) to great effect.

Unlike his fictional counterpart, Charles VI was aware that the costumes were highly flammable, so he ordered all torch-bearers to keep to one side of the room. As they entered the ballroom, five of the wild men were chained to one another. Only the king was free. The men probably humiliated the newlyweds, howling and dancing; some historians believe the wild dance was a charivari, a folk ritual intended to shame newlyweds at "irregular" marriages. (As a widow getting married for the third time, Lady Catherine would have been a target.)

But there was an important guest missing: the king's brother, Louis d'Orléans. He arrived late, carrying his own torch, and joined the dance. While the exact sequence of events is unclear, before long his torch had set fire to one of the wild men's costumes. The fire spread quickly. Two of the knights burned to death in front of the guests, and two more died in agony days later. Court chronicler Michel Pintoin, known as the Monk of St. Denis, describes the dancers' "flaming genitals dropping to the floor … releasing a stream of blood."

Only two of the wild men survived. One of them, named Nantoiullet, had reacted to the blaze by throwing himself into a barrel of water, which spared him a horrid death. The other was the king. He was saved by the Duchess of Berry, who used her gown to extinguish his costume before it was too late.

The event shook French society. It was seen as the height of courtly decadence, causing outrage and further unrest. That the king had engaged in this extravagant amusement, and that his life had been spared only by chance, was further proof that he was unfit for the throne.

Meanwhile, the part that Louis d'Orléans played in the tragedy was subject to some debate. Most chroniclers blamed his youth and recklessness for the terrible accident; some reportedly suggested it was a prank to "frighten the ladies" that got out of hand.

Although it seems that the Bal des Ardents wasn't a planned crime, the king's brother must have felt responsible for the fatal accident, since he founded a chapel in the convent of the Célestins shortly afterwards, hoping it would buy him a place in heaven. It didn't save him from a violent end, however: In 1407, Louis was assassinated on the orders of his cousin and recently minted political rival the Duke of Burgundy, which triggered a civil war that divided France for decades. The Duke of Burgundy justified the murder by accusing Louis of having used sorcery and occultism to attempt regicide on several occasions—one of them, he claimed, during the Bal des Ardents.

Regardless of the truth behind the matter, the horror of the event filtered down through the centuries to inspire one of Poe's most macabre works. (It's not clear where the author first heard about it, but it may have been in the pages of The Broadway Journal, where he was soon to become editor, and where a writer likened it to the accidental onstage burning death of the dancer Clara Webster in London.) Today, the shocking historical event lives on in Poe's story—and in Hop Frog's memorable final line: "I am simply Hop-Frog, the jester—and this is my last jest."

Additional source: Chronique du Religieux de Saint-Denys

25 of Oscar Wilde's Wittiest Quotes

By Napoleon Sarony - Library of Congress, Public Domain, Wikimedia Commons
By Napoleon Sarony - Library of Congress, Public Domain, Wikimedia Commons

On October 16, 1854, Oscar Fingal O'Flahertie Wills Wilde was born in Dublin, Ireland. He would go on to become one of the world's most prolific writers, dabbling in everything from plays and poetry to essays and fiction. Whatever the medium, his wit shone through.

1. ON GOD

"I think that God, in creating man, somewhat overestimated his ability."

2. ON THE WORLD AS A STAGE

"The world is a stage, but the play is badly cast."

3. ON FORGIVENESS

"Always forgive your enemies; nothing annoys them so much."

4. ON GOOD VERSUS BAD

"It is absurd to divide people into good and bad. People are either charming or tedious."

5. ON GETTING ADVICE

"The only thing to do with good advice is pass it on. It is never any use to oneself."

6. ON HAPPINESS

"Some cause happiness wherever they go; others whenever they go."

7. ON CYNICISM

"What is a cynic? A man who knows the price of everything and the value of nothing."

8. ON SINCERITY

"A little sincerity is a dangerous thing, and a great deal of it is absolutely fatal."

9. ON MONEY

"When I was young I thought that money was the most important thing in life; now that I am old I know that it is."

10. ON LIFE'S GREATEST TRAGEDIES

"There are only two tragedies in life: one is not getting what one wants, and the other is getting it."

11. ON HARD WORK

"Work is the curse of the drinking classes."

12. ON LIVING WITHIN ONE'S MEANS

"Anyone who lives within their means suffers from a lack of imagination."

13. ON TRUE FRIENDS

"True friends stab you in the front."

14. ON MOTHERS

"All women become like their mothers. That is their tragedy. No man does. That's his."

15. ON FASHION

"Fashion is a form of ugliness so intolerable that we have to alter it every six months."

16. ON BEING TALKED ABOUT

"There is only one thing in life worse than being talked about, and that is not being talked about."

17. ON GENIUS

"Genius is born—not paid."

18. ON MORALITY

"Morality is simply the attitude we adopt towards people whom we personally dislike."

19. ON RELATIONSHIPS

"How can a woman be expected to be happy with a man who insists on treating her as if she were a perfectly normal human being?"

20. ON THE DEFINITION OF A "GENTLEMAN"

"A gentleman is one who never hurts anyone’s feelings unintentionally."

21. ON BOREDOM

"My own business always bores me to death; I prefer other people’s."

22. ON AGING

"The old believe everything, the middle-aged suspect everything, the young know everything."

23. ON MEN AND WOMEN

"I like men who have a future and women who have a past."

24. ON POETRY

"There are two ways of disliking poetry; one way is to dislike it, the other is to read Pope."

25. ON WIT

"Quotation is a serviceable substitute for wit."

And one bonus quote about Oscar Wilde! Dorothy Parker said it best in a 1927 issue of Life:

If, with the literate, I am
Impelled to try an epigram,
I never seek to take the credit;
We all assume that Oscar said it.

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