Practice Catalogue is about––and in service of––the practices of writers and artists. It’s edited by Brandon Kreitler (unattributed posts are by the editor). Contact:
Yourcenar on writing The Memoirs of Hadrian

The utter fatuity of those who say to you, “By ‘Hadrian’ you mean yourself!” Almost as unsubtle as those who wonder why one should choose a subject so remote in time and in space. The sorcerer who pricks his thumb before he evokes the shades knows well that they will heed his call only because they can lap his blood. He knows, too, or ought to know, that the voices who speak to him are wiser and more worthy of attention than are his own clamorous outcries.

It did not take me long to realize that I had embarked upon the life of a very great man. From that time on, still more respect for truth, closer attention, and, on my part, ever more silence.

In a sense, every life that is recounted is offered as an example; we write in order to attack or to defend a view of the universe, and to set forth a system of conduct which is our own. It is none the less true, however, that nearly every biographer disqualifies himself by over-idealizing his subject or by deliberate disparagement, by exaggerated stress on certain details or by cautious omission of others. Thus a character is arbitrarily constructed, taking the place of the man to be understood and explained. A human life cannot be graphed, whatever people may say, by two virtual perpendiculars, representing what a man believed himself to be and what he wished to be, plus a flat horizontal for what he actually was; rather, the diagram has to be composed of three curving lines, extended to infinity, ever meeting and ever diverging.

Whatever one does, one always rebuilds the monument in his own way. But it is already something gained to have used only the original stones.

Every being who has gone through the adventure of living is myself.