John Banville cytaty strona 3

„- Pacjent - powiedziała mi pewnego dnia Anna, już blisko końca - to dziwne słowo. "Cierpliwy". A ja wcale nie jestem cierpliwa.”

The Sea

„To, że tu jestem, wynika po prostu z potrzeby, żeby nigdzie nie być.”

The Sea

„A teraz, już po wszystkim, coś nowego się zaczęło, nowego dla mnie - trudna sztuka życia po śmierci.”

The Sea

„Przeszłość bije we mnie niczym drugie serce.”

The Sea

„W mojej pamięci jest swoim własnym cieniem. Która z nich jest realniejsza, kobieta, która rozłożyła się na trawiastej skarpie moich wspomnień, czy też ta powłoka kurzu i suchy szpik, jedyne jej ślady, które przechowała ziemia? Na pewno gdzieś trwa dla innych, ruchoma figura w gabinecie figur woskowych, jakim jest pamięć, ale ich obraz jest inny niż ten, który ja noszę w myślach, a wszystkie różnią się między sobą. W ten sposób człowiek rozgałęzia się i rozszczepia w umysłach innych ludzi. Nie trwa, nie może trwać, bo to nie jest nieśmiertelność. Nosimy w sobie postacie zmarłych do chwili, aż sami nie umrzemy, a wtedy to nas noszą przez krótką chwilę, a potem ci, co nas nosili, odchodzą, i tak dalej, aż po najdalsze, wymykające się wyobraźni pokolenia.”

The Sea

John Banville cytaty

„Na miłość boską, nie histeryzuj! - odburknęła. - Po prostu umieram, koniec kropka.”

The Sea

„Być może całe życie jest zaledwie długim przygotowaniem do chwili, w której się z nim rozstajemy.”

The Sea

„Byłem zawsze wyróżniającym się nikim, którego bezwzględnym życzeniem było stać się niewyróżniającym się kimś.”

The Sea

„Żaden szczegół ludzkiego oblicza nie zniesie dłuższej obserwacji.”

The Sea

„A więc, panie doktorze - odezwała się trochę za głośno, radosnym, zdecydowanym tonem gwiazdy filmowej z lat czterdziestych - to wyrok śmierci czy dożywocie?”

The Sea

“Doing what you do well is death. Your duty is to keep trying to do things that you don't do well, in the hope of learning.”

The Sea

John Banville: Cytaty po angielsku

“They filmed it down in Wexford and I visited the set for about half an hour. I don't usually go near the set, because there's nothing for a writer to do there and you're constantly getting in the way. If I give a book to the movies, it's theirs. Writers often whinge about being betrayed by the movies – I have no sympathy for that. If you don't want a movie to be made, then don't sell your book to the movies.”

John Banville, The Art of Fiction No. 200 (2009)

“I'm a little surprised that commercial success has arrived. I used to think that it was hopeless, that it would never happen.”

John Banville: Who cares whodunnit? (2013)

“[On book reviewing] I will only turn down a book if I know I won't be able to muster enough interest to read the bloody thing. Or if I realize that I despise the author, and that I'm just going to become hysterical in my dispraise. A couple of times in my life I've disobeyed my own rule, and later regretted it. […] It's a delicate business. All too often, if one writes a favorable notice, it's seen as a product of the old-boy network, and if one dispraises a book, it's seen as envy. Nobody seems able to accept that I review books as a book reviewer, not as a competing novelist. When I review, I'm being as honest as I can. And I'm saying to the reading public — the minuscule segment of the reading public that reads reviews — that this is my judgment.”

Once More Admired Than Bought, A Writer Finally Basks in Success (1990)

“When I stand up from my writing desk, "John Banville", or "Benjamin Black" – that is, the one whose name will appear on the title page – vanishes on the instant, since he only existed while the writing was being done.”

John Banville, The Art of Fiction No. 200 (2009)

“So vivid is my recollection of the birth of Benjamin Black that surely, I feel, a cunning artificer has been at work, fashioning a surreally realistic picture of something that happened quite differently from what I seem to remember. Consider that light falling on the sea, how effulgent and steady it is; consider the trees, improbably full-leafed for the time of year – and look at those birds! Has Madam Memory really such a piercing eye for detail, are her powers of recall so comprehensive?”

John Banville on the birth of his dark twin, Benjamin Black (2011)

“March in Ireland can be a very lovely month, if you like your air rain-washed and your light wind-shaken.”

John Banville on the birth of his dark twin, Benjamin Black (2011)

“T. S. Eliot said it is no business of the artist to think. I presume he meant it's only the business of the artist to feel, but I like the notion of there being a mind behind the fiction that I read and that I write.”

John Banville on the birth of his dark twin, Benjamin Black (2011)

“There is something slightly sinister about Prague, just as there is about Lyon and Turin.”

John Banville: claiming Kafka as an Irish writer (2011)

“If you look at practically anyone - I mean, I find this more and more - the more you look at people the more you find that they've actually manufactured themselves. People whose names that you know. I meet lots of people in my ordinary life, away from writing, who seem to be authentic, who seem to know where they've come from and who they are, but anyone that I deal with in, if you like, my profession, we all seem to have made ourselves. I think artists are all self-made.”

John Banville: Using words to paint pictures of "magical" Prague (2006)

“As a boy I was very solitary but blissfully happy. We lived on the edge of town in Wexford and I wandered the fields with my dog, declaiming Keats to the trees.”

Oblique dreamer (2000)

“I like to hide in Ireland, but I like to think of myself as an internal exile.”

John Banville: Who cares whodunnit? (2013)

“I always remember how a novel written by John Braine in the 1950s about working-class life in England, which was called Room at the Top, which was translated into Swedish as The Attic!”

John Banville: claiming Kafka as an Irish writer (2011)

“Flaubert read too many books, and in consequence some of his own books stagger under the weight of his erudition. He said he'd read some preposterous number of books to prepare for the writing of Salammbô, and you can feel them dragging the novel down. It would have been much better if he'd made it all up.”

John Banville: Using words to paint pictures of "magical" Prague (2006)

“We writers are shy, nocturnal creatures. Push us into the light and the light blinds us.”

John Banville, The Art of Fiction No. 200 (2009)

“The world is a dark place, and I find it endlessly funny.”

14th time lucky (2005)

“I feel a kind of intellectual regret, not an emotional regret, at having left my parents and that world behind. But it's not a great weight on my soul. In a way I wish it were. To leave one’s background without guilt is an indication of shallowness of character, I suspect.”

John Banville, The Art of Fiction No. 200 (2009)

“Every artist has a Dorian Gray slaving away in the attic.”

John Banville, The Art of Fiction No. 200 (2009)

“When I started writing I was a great rationalist and believed I was absolutely in control. But the older one gets, the more confused, and for an artist I think that is quite a good thing: you allow in more of your instinctual self; your dreams, fantasies and memories. It's richer, in a way.”

How I Write: John Banville on ‘Ancient Light,’ Nabokov, and Dublin (2012)

“When I created Quirke, he was 6ft 6in and blond. But then a woman reader wrote to me and said, 'Why do you keep saying his hair is blond? It's not. It's brown.' I wrote back to her and told her that, of course, she was right. So I darkened his hair and now that he's being played by Gabriel Byrne; with each successive book he gets a bit smaller and smaller.”

14th time lucky (2005)

“I often think that there was nothing more exciting and erotic than getting a glimpse of a woman's leg at the top of her stockings. There's something about that white bulge and for anybody who grew up in my time, nothing replaces that, nothing. I remember I had a girlfriend when I was 16 and she had this bra – it used to open down the front – which I thought was absolutely wonderful. It was like opening a tabernacle.”

John Banville: Who cares whodunnit? (2013)

“I remember my father didn't say very much – he was a very laconic man. When he'd go to a party, he would become very animated. My mother would say – 'Look at him. He never says a word at home and look at him now.”

John Banville: Who cares whodunnit? (2013)

“Look at what goes on in our heads when we think about our family or we think about sex. There are things in there that you'd never really say to anybody. You're even ashamed to think it yourself.”

This is how we all are.
John Banville: Who cares whodunnit? (2013)

“I never learned the names of the streets because I couldn't wait to get out. It was too small and I was bored. I was a pretentious little twerp and I had ideas above my station, which everyone should have. I was deeply ambitious but I was deeply dismissive of what was there and that was a mistake. Wexford was a fascinating town and so was the society. I remember a friend of mine telling me about wife-swapping parties that went on there and how people would throw their keys into the middle of a bowl. This was the late 1950s. I didn't believe a word of it. If I believed him and looked about, I would have found another version of Wexford. I'm not saying that I wanted to be at wife-swapping parties, but the Wexford I imagined wasn't necessarily the Wexford that was real. So I blinded myself and I was just as narrow-minded and blinkered as the people whom I despised there. That was a mistake.”

John Banville: Who cares whodunnit? (2013)

“All art is to some extent shaped by what has gone before. But that is an organic process, not a conscious intention. Novels are made out of novels as much as they are out of life.”

John Banville: Who cares whodunnit? (2013)

“There had been rain but it had stopped, and the light from a luminously clouded sky was pewter-bright, and puddles on the road were shivering in the wind, and the rooks above the trees in St Anne's Park were being tossed about the air like scraps of charred paper.”

Fully Booked: Q & A with John Banville (2012)

“One of my mottoes as a writer is a little jotting from Kafka's journals: ‘Never again psychology!’ But alas, humankind is obsessed with its psychological workings, and since the novel can only treat of humankind... You see my predicament.”

John Banville on the birth of his dark twin, Benjamin Black (2011)

“If you think I'm being bleak, I'm not. It's wonderful to be making yourself up. That's what makes life so exciting. It's an unending adventure.”

Fully Booked: Q & A with John Banville (2012)

“I don't know anything about myself. Put it this way, there is no self. I believe that we're a compendium of personalities. We're whoever we meet. We go through the day being who we think we should be and who we think we'd like to be.”

John Banville: Who cares whodunnit? (2013)

“I'm a little older now and I think I've lightened up a bit as I'm getting older.”

John Banville: Who cares whodunnit? (2013)