William Goldman Quote
He studied, fretted, complained. He never should have taken the job; it was impossible. The next day he would be flying: he never should have taken the job; it was too simple to be worth his labors. Joy to despair, joy to despair, day to day, hour to hour. Sometimes Inigo would wake to find him weeping: What is it, Father? It is that I cannot do it. I cannot make the sword. I cannot make my hands obey me. I would kill myself except what would you do then? Go to sleep, Father. No, I don’t need sleep. Failures don’t need sleep. Anyway, I slept yesterday. Please, Father, a little nap. All right; a few minutes; to keep you from nagging. Some nights Inigo would awake to see him dancing. What is it, Father? It is that I have found my mistakes, corrected my misjudgments. Then it will be done soon, Father? It will be done tomorrow and it will be a miracle. You are wonderful, Father. I’m more wonderful than wonderful, how dare you insult me. But the next night, more tears. What is it now, Father? The sword, the sword, I cannot make the sword. But last night, Father, you said you had found your mistakes. I was mistaken; tonight I found new ones, worse ones. I am the most wretched of creatures. Say you wouldn’t mind it if I killed myself so I could end this existence. But I would mind, Father. I love you and I would die if you stopped breathing. You don’t really love me; you’re only speaking pity. Who could pity the greatest sword maker in the history of the world? Thank you, Inigo. You’re welcome, Father. I love you back, Inigo. Sleep, Father. Yes. Sleep. A whole year of that. A year of the handle being right, but the balance being wrong, of the balance being right, but the cutting edge too dull, of the cutting edge sharpened, but that threw the balance off again, of the balance returning, but now the point was fat, of the point regaining sharpness, only now the entire blade was too short and it all had to go, all had to be thrown out, all had to be done again. Again. Again. Domingo’s health began to leave him. He was fevered always now, but he forced his frail shell on, because this had to be the finest since Excalibur. Domingo was battling legend, and it was destroying him. Such a year.
He studied, fretted, complained. He never should have taken the job; it was impossible. The next day he would be flying: he never should have taken the job; it was too simple to be worth his labors. Joy to despair, joy to despair, day to day, hour to hour. Sometimes Inigo would wake to find him weeping: What is it, Father? It is that I cannot do it. I cannot make the sword. I cannot make my hands obey me. I would kill myself except what would you do then? Go to sleep, Father. No, I don’t need sleep. Failures don’t need sleep. Anyway, I slept yesterday. Please, Father, a little nap. All right; a few minutes; to keep you from nagging. Some nights Inigo would awake to see him dancing. What is it, Father? It is that I have found my mistakes, corrected my misjudgments. Then it will be done soon, Father? It will be done tomorrow and it will be a miracle. You are wonderful, Father. I’m more wonderful than wonderful, how dare you insult me. But the next night, more tears. What is it now, Father? The sword, the sword, I cannot make the sword. But last night, Father, you said you had found your mistakes. I was mistaken; tonight I found new ones, worse ones. I am the most wretched of creatures. Say you wouldn’t mind it if I killed myself so I could end this existence. But I would mind, Father. I love you and I would die if you stopped breathing. You don’t really love me; you’re only speaking pity. Who could pity the greatest sword maker in the history of the world? Thank you, Inigo. You’re welcome, Father. I love you back, Inigo. Sleep, Father. Yes. Sleep. A whole year of that. A year of the handle being right, but the balance being wrong, of the balance being right, but the cutting edge too dull, of the cutting edge sharpened, but that threw the balance off again, of the balance returning, but now the point was fat, of the point regaining sharpness, only now the entire blade was too short and it all had to go, all had to be thrown out, all had to be done again. Again. Again. Domingo’s health began to leave him. He was fevered always now, but he forced his frail shell on, because this had to be the finest since Excalibur. Domingo was battling legend, and it was destroying him. Such a year.
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About William Goldman
His other well-known works include his thriller novel Marathon Man (1974) and his cult classic comedy/fantasy novel The Princess Bride (1973), both of which he also adapted for film versions.