Terri Windling, l'auteur de l'Epouse de bois, évoque ses influences dans un article sur son blog.

C'est ici.

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I've been thinking about a comment Didier Graffet made in the interview I linked to in yesterday's post. He said, "When I was younger and learning to paint, I was inspired by other artists' work, but now I avoid looking too much at the websites of other illustrators, even though they are good, everything is good, but I want to develop my own imagination." I've been reflecting on both ends of that sentence: first, the ways we shape ourselves as writers and artists by discovering, loving, and pouring over the words and pictures of those who have come before us; and second, that vital moment when we turn away from others' work in order to travel inward and to map the realm of our own imaginations. I'll talk more about that necessary turning point in a subsequent post. Today, however, I'd like to focus on the first part of the equation: "the ecstasy of influence" (to borrow a phrase from Jonathan Lethem's brilliant essay of that name). By "influential art," what I mean is art that we not only admire but take passionately to heart -- those life-changing books that we read and re-read, those paintings we look at over and over again -- prompted, I would hazzard to guess, by the feeling that there's a similar kind of magic within us, awakened or strengthened by our deep response to what another hand has created.