Quotes of All Topics . Occasions . Authors
Most writers have been influenced by Faulkner.
I'm a very big Faulkner fan 'cause I'm a Southerner.
Faulkner wrote for film, and his ear is just impeccable.
Faulkner was almost oriental. I never got into Faulkner.
I'd have liked to have been another Faulkner, of course.
I'm not trying to emulate William Faulkner. I never said I was.
Faulkner came from my region and taught me how you could write about a place.
I like the beauty of Faulkner's poetry. But I don't like his themes, not at all.
Faulkner sat in our living room and read from Light in August. That was incredible.
Mr. Faulkner, of course, is interested in making your mind rather than your flesh creep.
Oh, he's magic. Faulkner has opened passages in my brain. You do things you'd never expect.
Of course, I'm of the generation that grew up with Hemingway and Faulkner as strong influences.
I love reading. I'm fortunate enough to have signed books by Faulkner, Steinbeck, Thomas Pynchon.
Faulkner was the first novelist I read with pen and paper in hand because his technique stunned me.
I was writing novels in high school and apprenticed myself in a way both to Faulkner and to Hemingway.
I'd love to have William Faulkner, Beethoven and Bach over. I want to find out what makes those guys tick!
When I finished 'True History of the Kelly Gang,' I realised that Faulkner had not lost his power over me.
My favorite movies are gory horror films. I love Faulkner. I wanted to see the most painful things possible.
I subscribe to William Faulkner's' view that history is not just about what we were before but who we are now.
I never got too specialized but did like the Southern Gothic writers like William Faulkner and Flannery O'Connor.
Totalitarians always want to kill culture. But imagine life without football, Faulkner, or Bob Dylan. It's not life.
Of the female black authors, I really like Morrison's early books a lot. But she's really become so much a clone of Faulkner. He did it better.
Faulkner is a really important figure in southern literature. I wrestle with him and his legacy every time I sit down and write a piece of fiction.
When I was twelve, I started reading Eudora Welty, Thomas Wolfe, Flannery O'Connor, James Agee, and - do we dare breathe the name - William Faulkner.
I can't change overnight into a serious literary author. You can't compare apples to oranges. William Faulkner was a great literary genius. I am not.
Faulkner turned out to be a great teacher. When a student asked a question ineptly, he answered the question with what the student had really wanted to know.
I always think about Faulkner, and I would argue that there can be a difference between the way that characters express themselves internally and externally.
I actually did work and produced two short dissertations, one on Faulkner and one on the film criticism of the stream-of-consciousness novelist Dorothy Richardson.
Toni Morrison has a habit, perhaps traceable to the pernicious influence of William Faulkner, of plunging into the narrative before the reader has a clue to what is going on.
So I'm not a Southern writer in the commonly held sense of the term, like Faulkner or Eudora Welty, who took the South for their entire literary environment and subject matter.
Writers are notoriously unable to know about themselves. Faulkner thought 'The Fable' was his best novel. F. Scott Fitzgerald liked 'Tender Is the Night,' an experimental novel.
If you want to study writing, read Dickens. That's how to study writing, or Faulkner, or D.H. Lawrence, or John Keats. They can teach you everything you need to know about writing.
Our most famous writers are Faulkner and Eudora Welty and Flannery O'Connor. It would make sense that the poetry would reflect some of those same values, some of the same techniques.
It worries me that undergrads and high school students are forced into books they aren't ready for, like Faulkner's, and then they are afraid of putting their toes in the water again.
I don't want to turn 50 and say, 'Gosh, I wish I'd lived in that part of the world for a time. I wish I'd read that book by Faulkner.' I want time to delve back into Thoreau and Kafka.
I have written about some truly great writers - John Steinbeck, Robert Frost, and William Faulkner. Faulkner and Frost were the very peaks of American poetry and fiction in the 20th century.
John Steinbeck is one of the most under-discussed and under-written-about of all American writers. He is way up there and should stand on a par, or even above, Ernest Hemingway and William Faulkner.
I don't write under the ghost of Faulkner. I live in the same town and find his life and work inspiring, but that's it. I have a motorcycle and tool along the country lanes. I travel at my own speed.
The thing that most critics miss about Faulkner is that his famous storytelling voice is, in fact, a standard Southern storytelling voice that is typical of the Gulf Coast - Mississippi, Alabama and so on.
A period of time is as much an organising principle for a work of fiction as a sense of place. You can do geography, as Faulkner did, or you can dwell on a particular period. It provides the same framework.
When I was younger, people were inventing a new way of writing - James Joyce, Hemingway, Faulkner. And I thought we had to find a structure for cinema. I fought for a radical cinema, and I continued all my life.
'As I Lay Dying,' I reread that often. That's the first work of Faulkner's that I read that so amazed me and that I responded to emotionally and viscerally. I admired it so much, and I think that's why I keep rereading it.
Faulkner's characters, too, were uneducated. They were deprived, but they were allowed to have very rich inner lives. I want to advocate for that, for inner lives that are much more complicated and more poetic than we think.
The South is full of memories and ghosts of the past. For me, it is the most inspiring place to write, from William Faulkner's haunted antebellum home to the banks of the Mississippi to the wind that whispers through the cotton fields.
Faulkner is a writer who has had much to do with my soul, but Hemingway is the one who had the most to do with my craft - not simply for his books, but for his astounding knowledge of the aspect of craftsmanship in the science of writing.
As Faulkner says, all of us have the capacity in us for great good and for great evil, for love but also for hate. I wanted to write those kinds of complex character in a fantasy, and not just have all the good people get together to fight the bad guy.
In 1966, I attended Marquette University and graduated from the University of California at Santa Cruz in 1970. I received my doctorate in English from the State University of New York at Buffalo, where I wrote my dissertation on William Faulkner's early novels.
In crime fiction, I cut my teeth on early Robert Parker, Elmore Leonard, John D. MacDonald, and Alan Furst. I always loved the writing of Hemingway and Faulkner. Cormac McCarthy's 'Border Trilogy' has been a huge influence; I think I read those novels four times.
William Faulkner, Muriel Spark, Richard Yates, William Styron, James Salter, Alice Munro. They're very different writers, and I admire them for different reasons. The common thread, I guess, is that they remind me what's possible, why I wanted to write fiction in the first place.
When I was young, I was a passionate reader of Sartre. I've read the American novelists, in particular the lost generation - Faulkner, Hemingway, Fitzgerald, Dos Passos - especially Faulkner. Of the authors I read when I was young, he is one of the few who still means a lot to me.