Quotes of All Topics . Occasions . Authors
You're not getting the joy out of literature that it gave you. This is the danger of what we do. Look at Hemingway and so many others. You devote your life to one thing, that is what you are. It's artificial but it's all you have. If you lose it, then you're nothing and there's no point in going on.
I think it's a great thing to hear the author reading. I've listened to CDs of Cheever and Updike reading their stories and Hemingway. To hear what their voices were like is amazing. Whether they're reading well or not, it's great to listen to the intonation and the beat of the guy who wrote the story.
I have many enemies and they all think I'm being highfalutin calling it performance, but the word "reading" has a connotation of something academic with the lights on and you're going to get a lecture. I'm looking to blow my audiences away by giving a fine, dramatic performance and reminding them of why they love stories.
The hardest thing in a novel is time. You've got [a line like] "two weeks later, he woke up with a headache," and you've got to add up that entire two weeks and what the date is and whether it works. That kind of stuff drives me crazy and if I don't have it exactly right, I can't move forward because I don't feel confident.
I have very rarely written autobiographical stuff. "Greasy Lake" and some other works have some autobiographical elements, as does "Birnam Wood," the one I chose to end [this collection] with. I lived in that house and some of my feelings are expressed in it, but it's not autobiography. It was not me and that didn't happen exactly that way.
Music is, by far, the best art. Nothing even comes close. It's so immediate and emotional. In writing, maybe ninety percent of it is the unconscious and ten percent is control. In music, I think it's probably more like ninety-nine percent the unconscious. It's just a beautiful thing happening through you. And so, too, is writing a great story.
In order to create you have to believe in your ability to do so and that often means excluding whole chunks of normal life, and, of course, pumping yourself up as much as possible as a way of keeping on. Sort of cheering for yourself in the great football stadium of life." (Barnes & Noble Review, email dialogue with Cameron Martin, Feb. 09, 2009)
From my point of view, why shouldn't I work in every possible mode, to see if it's viable? "Los Gigantes" would not have worked as a straightforward, naturalistic tale. Part of the fun of it is that it's so preposterous and yet at the same time, it could have happened. Think of eugenics. Hitler certainly would have been doing it if he could have.
Any story has a beginning, middle, and end, of course, but the question is, where do you start it exactly? It's about a guy who is murdered in a fistfight, but how does it evolve and what does it mean? That's what I discovered scene by scene, and this innovation of coming in as a first-person narrator was a complete surprise to me. It just happened.
I have an idea and a first line -- and that suggests the rest of it. I have little concept of what I’m going to say, or where it’s going. I have some idea of how long it’s going to be -- but not what will happen or what the themes will be. That’s the intrigue of doing it -- it’s a process of discovery. You get to discover what you’re going to say and what it’s going to mean.
I don't know who they are[my characters] . They're entirely invented characters. Maybe that's how I've been able to write so many books, because there are no boundaries for me. I can write a completely fantastical story like "Swept Away" or "Blinded by the Light" and then a non-comic drama like "Chicxulub" or something like "Birnam Wood" that has autobiographical underpinnings. Why not?
I'm a product of state schools. I had a working-class family. We had no books. I was the first to go to college. But I didn't really think about it, or about making money. I was just going to be an artist, and I've been fortunate. I've never had to work for anybody nor have I had to write for money. Maybe that's another reason that I've been able to be productive. I haven't had to use my writing to make a living.
I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
We live in a cluttered culture, a culture of information in which even our computers can't tell us what's worth knowing and what is merely cultural scrap. In such a society, we don't have the experience of contemplative space, of the time or mood to engage a book of poetry or even read a novel. Who can achieve the unconscious-conscious state of the reader when everything is stimulation, everything is movement and information?
We've all had the experience of you pick up a book, you can't get into it, you can't concentrate.Then one day you pick up the same book and you don't hear the phone ring. You're totally absorbed. Same thing I have to do every day. When you get into that special place of unconsciousness - you get it listening to great music or seeing a great movie - it just takes you out of yourself, out of this whole world. There's no feeling quite like it.