Quotes of All Topics . Occasions . Authors
I've always relied on producing more material than I need. With each of my published novels I've written around four times the amount of material that's ended up in the book.
Depressing thought: my friends were the girls I ate lunch with, all buddies from kindergarten who knew one another so well we weren't sure if we even liked one another anymore.
The gender inequality in book reviewing isn't getting better. Male authors get the majority of review coverage, and male reviewers do most of the reviewing. It's kind of devastating.
A lot of my work comes from a place of despair or fear. I often write in order to gain some sort of control over aspects of my life or the world that seem too dark to look at directly.
I am a person beset with fears, and one of my fears is that this thing that I will be writing for five years won't work. And the likelihood, of course, is that it won't - and that's fine.
Time is the currency - the highest valued currency we have now. And people giving you their time is so incredible. They don't have to like your book, either. That's a totally separate gift.
I have a feeling that books are a lot like people - they change as you age, so that some books that you hated in high school will strike you with the force of a revelation when you're older.
Song: Heloise and Abelard by Elizabeth Devlin. Beyond the a propros subject matter, this lady can really play the Autoharp. This song sounds like something you'd find on a gramophone record.
Who, in the midst of passion, is vigilant against illness? Who listens to the reports of recently decimated populations in Spain, India, Bora Bora, when new lips, tongues and poems fill the world?
It's not easy to make friends when you're an adult writer outside of academia, especially when you work alone in a little room for twelve hours a day, and so I wrote toward what I most longed for.
My childhood was as conventional as you could get. I think I probably created 'Arcadia' with a certain amount of wishful thinking. I would have loved to have more looseness and freedom and community.
I love that he's both comic and tragic, and highly poetic but also just dirty at times. ... I love that within the world of Shakespeare's plays, the whole world is sort of encompassed in a certain way.
Sometimes I read a biography of some tempestuous artist and find myself longing for fireworks! booze! bloody fights!; I do think that life must be so much more thrilling when you're actively miserable.
Being a writer means I sit in a dark (and pretty dank) room off my garage for many hours a day, and in my wallowing moments I can feel as if I'm already on the outside of society, peering wistfully in.
I'm ambivalent about the Orange Prize. I was really proud to be shortlisted alongside the other writers, whom I admire. That said, I don't know if it's best way of addressing gender inequality problems.
There aren't very many good models of feminine rage - and the ones that we remember are ones where women take that anger internally and implode themselves in a real way, like Anna Karenina or Emma Bovary.
I do like Twitter. Writing is a solitary pursuit, and it can get lonely. I like to go into Twitter for a short period of time, communicate with clever friends, and then switch it off. That's perfect for me.
While I know some women who are stunningly sanguine when they're pregnant, I dissolve into a total mess. What normally appears sturdy turns fragile: the economy, the climate, humanity's baseline social contract.
Among so many things, 'Time Passes' has shown me subversive ways of portraying time, of looking away from the human to the far more terrifying, far more immense texture of time beneath the minute span of a human life.
I had a series of terrible jobs, whatever would allow me to write for four hours during the day. During that time I wrote three novels - all of which were extraordinarily poor. I decided after that to go and get my MFA.
Plays are just all sort of playful asides, and there's a great deal of reference here to Greek mythology, plays, and dramas. The idea of the chorus is really important in Greek drama and I loved the idea of including that.
Childhood is such a delicate tissue; what they had done this morning could snag somewhere in the little ones, make a dull, small pain that will circle back again and again, and hurt them in small ways for the rest of their lives.
The darkest period of my life, so far, arrived the summer I was pregnant with my eldest son. The future was growing in me with all of its terrifying unpredictability, and I found myself anxious, unable to work and woefully at sea.
I write everything out in longhand in one fast go. And then I throw out the first few and start over again. By the end of the first draft, the whole thing's messy and disgusting and horrible, but you really understand the foundational stuff.
Parenthood means becoming comfortable with the fact that there are things outside your control, things that end and fail, just as most utopias end and by some measure fail. And just because they're a failure doesn't mean there isn't value there.
I see history as really cyclical in terms of the intense idealism and the desire to create a better life outside of societal norms. In America, possibly because of whatever the American dream is, this happens over and over again. These eras repeat.
Fiction is always a utopian task, in that there's an ideal you hold in your head as you write which inevitably fails in the moment of creation, in the insufficiency of words to convey meaning, or in the way the work is completed in the reader's head.
In my totally unscientific yet enthusiastic survey of Communal Experiments Throughout American History, I've discovered that the thing most likely to break up said experiments is: Sex, all that murky, dark, dirty gunk simmering beneath human relations.
I'm feminist in that I believe that there should be equality between men and women. I get deeply frustrated on a daily basis by the enormous gender divide in the U.S. literary world. But I don't know how to deal with it, so I don't tend to say much about it.
Research is about following the gleam into the dark. It's also about being sensitive enough to know which fact is "the creative fact; the fertile fact; the fact that suggests and engenders," as opposed to the fact that deadens and kills a delicate new project.
I feel lucky. I do love it, mostly. At college I had it in my heart that I wanted to be a writer but I didn't want to tell anyone about it. Then I graduated and became a bartender in Philadelphia, writing during the day. I was the worst bartender in the world.
When I was small and easily wounded books were my carapace. If I were recalled to my hurts in the middle of a book they somehow mattered less. My corporeal life was slight the dazzling one in my head was what really mattered. Returning to books was coming home.
When I write a new draft, I don't like to feel I'm tied to any previous version. That's why I don't use a computer to write. The text looks, on the screen, too much like a book. It's not a book - it's a bad first draft of something that could one day be a book.
I think attempting to make art is a utopian process in itself, definitely. Nothing I do is ever equal to the ideas in my head. You do the best you can, you do it with patience and love, and then you give up. The moment you give up is when you know the book is done.
And she, the new mother of a daughter, felt a fierceness come over her that seized at her heart, that made her feel as if her bones were turned to steel, as if she could turn herself into a weapon to keep this daughter of hers from having to be hurt by the world outside the ring of her arms.
A female writer does definitely get more attention if she writes about male characters. It's true. It's considered somehow more literary, in the same way that it's more literary to write about supposedly male subjects, such as war. You're considered more seriously by the literary establishment.
At some point, I picked up an old library copy of 'To The Lighthouse' someone had bought for 25 cents. I began to read and didn't stop until the sun had blistered my back. A mysterious rightness, a beautiful submerged truth had invaded me, one that has ever since seemed slightly beyond my grasp.
I once spent an entire night in a hotel in New York looking across the way into someone's apartment where nothing was happening but daily life, a phone call, television watching, staring into the fridge. Seeing how those strangers lived over that small distance and in absolute silence moved me deeply.
If the literary category of 'mordant fable' exists at all, it may be because Brock Clarke invented it. The Happiest People in the World is everything we fans have come to love from a Clarke novel: playful and deliriously skewed, and somehow balancing between genuinely great-hearted and gloriously weird.
When I meet people I try to make a joke out of my occupation, explaining that what I do all day is sit alone in a darkened room, flicking through some pages, jumping on a treadmill now and then. I keep my serious work as a writer private, but that doesn't mean it's not serious work - quite the opposite.
There is part of me that longs to have the back-to-the-earth life - make my own bread, grow my own wheat, just be really self-sufficient - but I am not, at the moment, willing to give up the luxury of modern life, and amazing schools for my kids, and things that I've come to rely on that are parts of society.
If there's a black cat that crosses the street in my path, I will turn around and walk 20 minutes out of my way to not cross it. You know how in New York there's a lot of scaffolding? I won't walk under scaffolding or under ladders. I wear things like a baseball player wears things that are supposed to have luck.
I can say that if you're a writer who happens to be a woman, you'll get a book cover that depicts a woman with no head, or a woman turning away, or a pair of high heels. You have to fight to not get stuck with these covers. In the U.S. women are chick-lit writers unless they prove otherwise, and that's frustrating.
Sex makes things strained. There are lovely people in Oneida, but everyone was married to everyone else. And you had fathers and mothers watching their twelve-year-old daughters being inducted into the group marriage by sixty-five-year-old men. There are creepy aspects of a lot of intentional communities when it comes to sex.
Reading about utopianism, and eventually creating characters with their own utopian ambitions, was the way I learned to live with being a pregnant person, to stave off the sense of incipient disaster. You're bringing a person into this overcrowded world, knowing they're one day going to die and there's nothing you can do about it.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
I kept a lot of my thoughts inside myself. So, perhaps more than is normal, I'm always questioning my role as a writer. I'm always stopping and asking myself: Do I have the right to tell this story? Is it a story that deserves to be heard? And as for whether I think of myself as a Writer with a capital "W," I very much hope I never do.
The idea of legitimacy is something I suppose I deal with in my fiction, and in part it's probably a response to my upbringing. When I was growing up I was the middle child, pathologically shy, in a family with a very loud and opinionated older brother, and I felt as if I never had the right to speak. As a result, I simply didn't speak very much.
The trouble is that America's become a utopia accessible only to some people. Others get trampled on. Perhaps it's a problem of size. Robin Dunbar, an anthropologist, once gave the ideal number of a given community as 148. That seems about right to me. There's something idealistic about that - in a group of 148 people you can get to know everybody.
As with most of my work, I started from the abstract, from research, building an intellectual model that slowly became internalized when the characters came alive. It's fascinating what happens to the model you've so assiduously assembled when characters are allowed to run rampant: things you thought essential are broken and other things are vastly improved.