A child in London asked her father what autumn was, having heard it spoken of these days, and the father in explanation said it was a season, though not a major one. In cities, this father said, you did not feel autumn so much, not as you felt the heat of summer or the bite of winter air, or even the slush of spring. He said that, and then the next day sent for the child and said he had been talking nonsense. 'Autumn is on now,' he said. 'You can see it in the parks,' and he took his child for a nature walk.

— William Trevor

All this occupied his thoughts when he revisited the places of his war. Tramping over soil fed by the blood of men he had led and whose faces now stirred in his memory, it was his wife's response that came - as if in compensation for too little said before - when he wondered why his wandering had led him back to these old battlefields: in his sixty-ninth year he was establishing his survivor's status.

— William Trevor

By the end, you should be inside your character, actually operating from within somebody else, and knowing him pretty well, as that person knows himself or herself. You're sort of a predator, an invader of people.

— William Trevor

Calamity shaped a life when, long ago, chance was so cruel.

— William Trevor

He should in humility have asked her why it was that he was naturally a cuckold, why two women of different temperaments and characters had been inspired to have lovers at his expense. He should be telling her, with the warmth of her body warming his, that his second wife had confessed to greater sexual pleasure when she remembered that she was deceiving him.

— William Trevor

I think it is the art of the glimpse. If the novel is like an intricate Renaissance painting, the short story is an impressionist painting. It should be an explosion of truth. Its strength lies in what it leaves out just as much as what it puts in, if not more. It is concerned with the total exclusion of meaninglessness. Life, on the other hand, is meaningless most of the time. The novel imitates life, where the short story is bony, and cannot wander. It is essential art.

— William Trevor

Only the debris of wreckage, and not much of that, was left behind by the sharks who fed on tragedy: the fishermen, too, mourned the death of a living child.

— William Trevor

People like me write because otherwise we are pretty inarticulate. Our articulation is our writing.

— William Trevor

People run away to be alone,' he said. Some people had to be alone.

— William Trevor