Quotes about novel (794 quotes, page 7)

“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 (1945) Irish writer

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

Life , Art

“There is a much more subtle and completely novel threat to man's survival that looms, every year more menacingly, beside that of an atomic holocaust; the cluster of world-wide problems - not only material in nature - growing at an incredible speed when viewed in historical perspective, and called by The Club of Rome the "problématique humaine. In fact, we believe that even without the atomic world war, human existence as we know it is threatened if no way can be found to resolve this crisis syndrome.”

Mihajlo D. Mesarovic (1928) Serbian academic

Source: Mankind at the Turning Point, (1974), p.xi; cited in: Robert C. Tucker (1995) Politics As Leadership. p. 116

War , World , Way , Nature

“[referring to his painting 'Everyone Stands under His Own Dome of Heaven' (1971): It is a man in his own universe. It [the painting] was a quotation of, taken out of Robert Musil's novel 'Der Mann ohne Eigenschaften'; how do you translate it in English? 'The Man without qualities', I think – the most important book of the 20th century I would say. So this is a quotation: Jeder Mensch soll nach seine Himmel gucken.... I meant there is no objective truth. So as I discovered later, there is no objective history. There is no history; each human being made its own history – has his own thoughts and his own world. And sometimes two domes touch each other, or cross each other, but everyone is alone with its own illusions and methods..”

Anselm Kiefer (1945) German painter and sculptor

n.p.
Tim Marlow joins Anselm Kiefer to discuss his work' - 2005

Truth , Books , World , History

“Whether the French were better colonists than the British is an academic question, but at least such Frenchmen as were planting in Malaya (Pierre Boulle, for instance, and Henri Fauconnier) were kept sane by their own culture and some of them (those two, anyway) produced memorable novels based on their Malayan experiences. The British were mostly philistines, and they left behind a heritage of philistinism. Kampung culture is dying, and a metropolitan culture of art galleries and orchestras seems unlikely to arise. What there is, and flourishing too, is a materialist consumerism that is threatened from the north by the communists and from the west by the militant Islam of the ayatollahs. Mr Butcher’s book deals with a race of people who may well be surveyed in terms of anthropological generalities. There was no room for the brilliant or the eccentric. British Malaya was created by courageous and suffering mediocrities. The building of Singapore in 1819 was a rather different affair.”

Anthony Burgess (1917–1993) English writer

"White Men Sweating" - review of The British in Malaya 1880-1941: The Social History of a European Community in Colonial South-East Asia, by John G. Butcher.
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

People , Books , Art , Courage

“The work deserved its success for its own merits, for despite the narration of many marvellous sights, the author remained urbane and tolerant. He was a superb storyteller with a vivid imagination, who was able to combine the novel with the familiar, and moral exhortation with entertainment.”

John Mandeville (1300–1372) writer

N. F. Blake, in Whitney F. Bolton (ed.) The Middle Ages (London: Sphere, 1970) p. 381.
Criticism

Imagination , Success

“Our sensuous appreciation of the world and of the works created by man has, no doubt, a biological foundation, one shared by all human beings, but that is no use to us when we try to evaluate a Bach fugue or a Dostoevsky novel-or even the simple experience of a landscape, as our delight in the view of a mountain or a waterfall is also determined by the traditions of our culture. The coexistence of different criteria of judgment is, in any case, by now a fact of life. Beethoven cannot be judged or even understood by the standards of Mozart, however much he may have continued them, nor Berg by the standards of Wagner or Richard Strauss, nor Elliott Carter by the values of Ives and Stravinsky.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Frontiers of Meaning: Three Informal Lectures on Music (1994), Ch. 1 : The Frontiers of Nonsense

Life , World , Mountain

“I sense that novel of my dreams is in the Remington SL3 — although it writes much faster than I can spell.”

Tom Robbins book Still Life with Woodpecker

Still Life with Woodpecker (1980)

Dreams , Sense

“Any satirist writing a futuristic novel who had imagined a President Reagan during the Eisenhower years would have been accused of perpetrating a piece of crude, contemptible, adolescent, anti-American wickedness, when, in fact, he would have succeeded, as prophetic sentry, where Orwell failed.”

Philip Roth (1933–2018) American novelist

Paris Review Interview (1986)

Imagination

“I took a Greyhound bus to New York and stayed at the YMCA, fifty cents a night. I took my stories around to a dozen publishers. Nobody wanted them. They said, We don’t publish stories. Nobody reads them. Don’t you have a novel?”

Ray Bradbury (1920–2012) American writer

The Paris Review interview (2010)

Reading , Night

“When the true principles of design are forgotten; when, in art, the bizarre and novel is the aim rather than the beautiful; when complication and mystery take the place of what should be as simple and clear as the atmosphere, design runs amuck, and becomes so helplessly involved in difficulties that such manifestations as cubism, impressionism, futurism, and art nouveau shoe their ugly heads and pose as art.”

Ernest Flagg (1857–1947) American architect

Introduction
Small Houses: Their Economic Design and Construction (1922)

Beauty , Art , Shoe , Future

“It's a well-known fact that no novel is taken seriously in India until a good deal of research has gone into it. This stay in the Taj will be my research. Going down the stairs will be research. So will looking out at the sea.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

Friend of My Youth (2017)

Sea

“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 (1945) Irish writer

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

“The young men listen dutifully, for the most part, and from time to time some of them even take the trouble to go over to the college library, and dig up one or another of his novels, and crouch there, among the stacks, flipping impatiently through the pages, looking for parts that sound true.”

Michael Chabon book Wonder Boys

Wonder Boys (1995)

Men , Time , Parting

“When I finally got tired of arguing with her and decided to write a novel as if I was some kind of formulaic, genre writing drone, just to prove to her how awful it would be, I wrote the first book of the Dresden Files.”

Jim Butcher (1971) American author

A Conversation With Jim Butcher, The SF Site, McCune, Alisa, 2004, 2008-02-04 http://www.sfsite.com/08b/jb182.htm,

Books

“His great novel The Leopard (Il Gattopardo) has certainly enlarged my life – an unusual experience for a life which is well on in its eighties. Reading and rereading it has made me realize how many ways there are of being alive, how many doors there are, close to one, which someone else's touch may open.”

Giuseppe Tomasi di Lampedusa (1896–1957) Sicilian writer and prince

E. M. Forster, Introduction to Lampedusa's Two Stories and a Memory (New York: Pantheon, 1962) p. 13.
Criticism

Life , Way , Reading

“Later Julian would give me another book he had culled from among the Archival duplicates, a short novel called The Time Machine by Mr. H. G. Wells, about a marvelous but apparently imaginary cart which carried a man into the future—and it fascinated me—but the Archive itself was a Time Machine in everything but name. Here were voices preserved on browning paper like pressed flowers, whispering apostasies into the ear of a new century.”

Robert Charles Wilson book Julian Comstock: A Story of 22nd-Century America

Source: Julian Comstock: A Story of 22nd-Century America (2009), p. 332

Books , Flowers , Time , Future

“I was very fond of strange stories when I was a child. In my village-school days, I used to buy stealthily the popular novels and historical recitals. Fearing that my father and my teacher might punish me for this and rob me of these treasures, I carefully hid them in secret places where I could enjoy them unmolested. As I grew older, my love for strange stories became even stronger, and I learned of things stranger than what I had read in my childhood. When I was in my thirties my memory was full of these stories accumulated through years of eager seeking. […] I have sometimes laughingly said to myself that it is not I who have found these ghosts and monsters, but they, the monstrosities themselves, which have found me!”

Wú Chéng'ēn (1500–1582) Chinese writer

Preface to a collection of short stories about monsters, now lost, as quoted in Arthur Waley's introduction to the American edition of Monkey (New York: Grove Press, 1943)

Love , Secret , Fear , School

“I'm aware of the made up declarations about me that have recently begun to appear on the Internet and in emails as "Chuck Norris facts." I've seen some of them. Some are funny. Some are pretty far out. Being more a student of the Wild West than the wild world of the Internet, I'm not quite sure what to make of it. It's quite surprising. I do know that boys will be boys, and I neither take offense nor take these things too seriously. Who knows, maybe these made up one-liners will prompt young people to seek out the real facts as found in my recent autobiographical book, "Against All Odds?" They may even be interested enough to check out my novels set in the Old West, "The Justice Riders," released this month. I'm very proud of these literary efforts.”

Chuck Norris (1940) American martial artist and actor

Posted on Chuck Norris' website in 2005.

People , Books , World , Justice

“I have retired to Nemours to work upon a novel called The Age for Love, and it is on this subject that I wished to consult you, my dear master.”

Paul Bourget (1852–1935) French writer

The Age for Love

Love , Age

“There is no right in the world not to be offended. That right simply doesn’t exist. In a free society, an open society, people have strong opinions, and these opinions very often clash. In a democracy, we have to learn to deal with this. And this is true about novels, it’s true about cartoons, it’s true about all these products.”

Salman Rushdie (1947) British Indian novelist and essayist

The Hindu interview (2012)

People , World , Democracy , Strong

“Showed me pictures in the gallery
Showed me novels on the shelf
Put my hands across the table
Gave me knowledge of myself.
Showed me visions, showed me nightmares
Gave me dreams that never end
Showed me light out of the tunnel
When there was darkness all around instead.”

Van Morrison (1945) Northern Irish singer-songwriter and musician

Tore Down a la Rimbaud.
Song lyrics, A Sense of Wonder (1985)

Dreams , Knowledge , Light

“Whatever may have been our final judgment on the strange novel of M. Marcel Proust, 'Du Côté de chez Swann,' which appeared in the year before the war—and the book at least had this obviously in common with a great work of literature, that it lent itself to judgment on many different planes—the persistent element in all our changing opinions was that it marked the arrival of a new sensibility. We were being made aware in new ways, induced to perceive existence in new relations.”

John Middleton Murry (1889–1957) English writer (1889–1957)

[M. Marcel Proust: A New Sensibility, The Quarterly Review, 238, 86–100, https://babel.hathitrust.org/cgi/pt?id=hvd.32044092529312;view=1up;seq=104] July 1922, quote p. 88

War , Books , Way , Literature

“Making reality real is art's responsibility. It is a practical assignment, then, a self-assignment: to achieve, by a cultivated sensitivity for observing life, a capacity for receiving impressions, a lonely, unremitting, unaided, unaidable vision, and transferring this vision without distortion to it onto the pages of a novel, where, if the reader is so persuaded, it will turn into the reader's illusion.”

Eudora Welty (1909–2001) American author

On Writing (2002)

Life , Art , Reality

“A certain critic—for such men, I regret to say, do exist—made the nasty remark about my last novel that it contained ‘all the old Wodehouse characters under different names’. He has probably now been eaten by bears, like the children who made mock of the prophet Elisha: but if he still survives he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have outgeneralled this man by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy. (From preface)”

P.G. Wodehouse book Summer Lightning

Summer Lightning (1929)

Men , Children , Feeling , Intelligence

“[To read a novel or see a play was to drink life through a straw — to smoke it through a filter-tip. If we were not afraid of blackening our teeth or riddling our lungs with cancer — if we were a dauntless race of men with strong digestions — we would be able to devour life without the aid of these over-civilized devices.”

Quentin Crisp book The Naked Civil Servant

Source: The Naked Civil Servant (1968), Ch. 27

Life , Men , Drink , Strong

“I had been virtually a Unitarian (as I still am) but without knowing it. The experience of being among Unitarians who did know what they were, and attached much importance to it, was entirely novel to me, but I soon fell into their ways and found it easy to go forward on their road, the more so because the other roads became closed to me.”

L. P. Jacks (1860–1955) British educator, philosopher, and Unitarian minister

The Confession of an Octogenarian (1942), p. 99.

Way

“I've studied Ulysses in depth and still think it's a great and ground-breaking book, a brave and sincere trail-blazer — but also massively self-indulgent, baggy, and irritating.
Joyce was a wonderful liberator, but his approach is dangerous for a writer to emulate, since he had a massive ego and was convinced that every word he wrote was sacred. Have you seen his annotated proofs? He scarcely ever deleted a word, just added screeds and screeds more stuff in the margins. He also believed that people should, and would, read novels with the same slow, studious pondering of every word and phrase that they bring to ancient scripture, which I think is a stupid thing for a storyteller to expect.”

Michel Faber (1960) novelist

Interview at Canongate http://www.canongate.net/MichelFaber

People , Books , Stupidity , Thinking

“The subject matter of today's youth novels has no boundaries. The only taboo seems to be sex discrimination… I can only guess about where we're going, but I think we have come about as far as we can in the direction of 'let-it-all-hang-out' realism. My reader-mail indicates that kids are beginning to feel bogged down with so much depressing slice-of-life. My own most successful books have been those that were high in entertainment value, especially those touching on the supernatural.”

Lois Duncan (1934–2016) American young-adult and children's writer

On literary realism, quoted in The 100 Most Popular Young Adult Authors: Biographical Sketches and Bibliographies (1997), p. 113
1990–2002

Life , Books , Youth , Sex

“Lending a favorite book has its risks; the borrower may not like it. I still don’t know a better novel than Crime and Punishment—still, every fourth or fifth borrower returns it unfinished: it depresses him; besides that, he didn’t believe it. More borrowers than this return the first volume of Remembrance of Things Past unfinished: they were bored. There is no book you can lend people that all of them will like.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 50
The Third Book of Criticism (1969)

People , Books , Past

“Cognitive load theory has been designed to provide guidelines intended to assist in the presentation of information in a manner that encourages learner activities that optimize intellectual performance. The theory assumes a limited capacity working memory that includes partially independent subcomponents to deal with auditory/verbal material and visual/2- or 3-dimensional information as well as an effectively unlimited long-term memory, holding schemas that vary in their degree of automation. These structures and functions of human cognitive architecture have been used to design a variety of novel instructional procedures based on the assumption that working memory load should be reduced and schema construction encouraged. This paper reviews the theory and the instructional designs generated by it.”

John Sweller (1946) educational psychologist

John Sweller, Jeroen van Merrienboer, and Fred Paas. "Cognitive architecture and instructional design." Educational psychology review 10.3 (1998): 251-296.

Optimism , Memory

“James Joyce, in his novel Finnegans Wake, in 1939, punned on the word “Hindoo” (as the British used to spell it), joking that it came from the names of two Irishmen, Hin-nessy and Doo-ley: “This is the hindoo Shimar Shin between the dooley boy and the hinnessy.”

Wendy Doniger (1940) American Indologist

Source: The Hindus: An Alternative History, p. 30.

Boy

“A lot of poets published their own work then; unlike novels, poetry was short, and therefore cheap to do. We had to print each poem separately, and then disassemble it, as there were not enough a's for the whole book; the cover was done with a lino-block. We printed 250 copies, and sold them through bookstores, for 50 cents each. They now go in the rare book trade for eighteen hundred dollars a pop. Wish I'd kept some.”

Margaret Atwood (1939) Canadian writer

On Writing Poetry (1995)

Books

“He was one of the first explorers of the human heart, and is therefore rightly to be numbered among the fathers of the novel of sentiment.”

Chrétien de Troyes French poet and trouvère

C. S. Lewis The Allegory of Love (Oxford, [1936] 1975), ch. 1, p. 29.
Criticism

Heart

“Indian reviewers don’t read books. They have two days to produce 800 words. They read the prologue and then skim a few pages, then they read all the other reviews. If the first two are negative, you can be sure they will all be negative. If the first two are good, the rest will be good. It’s that low-level, that pathetic. It takes a kind of confidence for a reviewer to have their own opinion about a book. And a lot of people here just don’t care about literary novels.”

Jeet Thayil (1959) Indian writer

Jeet Thayil: Confessions of an Indian Opium-Eater

People , Books , Confidence , Reading

“How can we expect novelists to be moral, when their trade forces them to treat every end they meet as no more than an imperfect means to a novel?”

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 1, p. 8

“I can't believe that people really prefer to go to the concert hall under intellectually trying, socially trying, physically trying conditions, unable to repeat something they have missed, when they can sit at home under the most comfortable and stimulating circumstances and hear it as they want to hear it. I can't imagine what would happen to literature today if one were obliged to congregate in an unpleasant hall and read novels projected on a screen.”

Milton Babbitt (1916–2011) American composer

See: recording Quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812.

People , Music , Quotes , Home

“As for 'story' I never yet did enjoy a novel or play in which someone didn't tell me afterward that there was something wrong with the story, so that's going to be no drawback as far as I'm concerned. "Good Lord, why am I so bored"—"I know; it must be the plot developing harmoniously." So I often reply to myself, and there rises before me my special nightmare—that of the writer as craftsman, natty and deft.”

E.M. Forster (1879–1970) English novelist

Letter 104, to Forrest Reid, 19 June 1912
Selected Letters (1983-1985)

“Playboy: Then for now, aren't you asking home-computer buyers to invest $3000 in what is essentially an act of faith?
Jobs: In the future, it won't be an act of faith. The hard part of what we're up against now is that people ask you about specifics and you can't tell them. A hundred years ago, if somebody had asked Alexander Graham Bell, "What are you going to be able to do with a telephone?" he wouldn't have been able to tell him the ways the telephone would affect the world. He didn't know that people would use the telephone to call up and find out what movies were playing that night or to order some groceries or call a relative on the other side of the globe. But remember that first the public telegraph was inaugurated, in 1844. It was an amazing breakthrough in communications. You could actually send messages from New York to San Francisco in an afternoon. People talked about putting a telegraph on every desk in America to improve productivity. But it wouldn't have worked. It required that people learn this whole sequence of strange incantations, Morse code, dots and dashes, to use the telegraph. It took about 40 hours to learn. The majority of people would never learn how to use it. So, fortunately, in the 1870s, Bell filed the patents for the telephone. It performed basically the same function as the telegraph, but people already knew how to use it. Also, the neatest thing about it was that besides allowing you to communicate with just words, it allowed you to sing.
Playboy: Meaning what?
Jobs: It allowed you to intone your words with meaning beyond the simple linguistics. And we're in the same situation today. Some people are saying that we ought to put an IBM PC on every desk in America to improve productivity. It won't work. The special incantations you have to learn this time are "slash q-zs" and things like that. The manual for WordStar, the most popular word-processing program, is 400 pages thick. To write a novel, you have to read a novel—one that reads like a mystery to most people. They're not going to learn slash q-z any more than they're going to learn Morse code. That is what Macintosh is all about. It's the first "telephone" of our industry. And, besides that, the neatest thing about it, to me, is that the Macintosh lets you sing the way the telephone did. You don't simply communicate words, you have special print styles and the ability to draw and add pictures to express yourself.”

Steve Jobs (1955–2011) American entrepreneur and co-founder of Apple Inc.

Steve Jobs, Playboy, Feb 1985, as quoted in “Steve Jobs Imagines 'Nationwide' Internet in 1985 Interview” https://paleofuture.gizmodo.com/steve-jobs-imagines-nationwide-internet-in-1985-intervi-1671246589, Matt Novak, 12/15/14 2:20pm Paleofuture, Gizmodo.
1980s

People , World , Faith , Way

“I am a Christian who wrote a novel in a specific literary tradition. I did not approach the process as a representative of modern evangelical culture, hoping to collect a few crumbs fallen from the medieval feast described in excruciatingly painstaking detail on the secular table, but as one of the legitimate heirs to the literary kingdom who is castigating the usurpers.”

Vox Day (1968) writer, actor, video game designer, blogger, far-right activist

On The ‘Throne Of Bones’: A Q and A With Vox Day http://speculativefaith.lorehaven.com/on-the-throne-of-bones-a-q-and-a-with-vox-day/ (January 18, 2013)

Hope

“It is so ambiguous as to be scarcely intelligible in some parts (and those the principal), yet as a whole, it is novel and affecting.”

John Constable (1776–1837) English Romantic painter

Quote from Constable's letter to his future wife Maria Bicknell, 1812; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 368
Constable wrote his love about Turner's landscape-painting 'Snow Storm: Hannibal and his Army Crossing the Alps' (Tate Gallery, No. 490); The storm effects in this painting are typical of many of Turner's skies
1800s - 1810s

Intelligence , Parting

“Every serious novel is, beyond its immediate thematic preoccupations, a discussion of the craft, a conquest of the form, a conflict with its difficulties and a pursuit of its felicities and beauty.”

Ralph Ellison (1914–1994) American novelist, literary critic, scholar and writer

"Society, Morality and the Novel" (1957), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), p. 699.

Beauty

“We all observe that the reality of sexual intercourse is far from perfect; yet this does not convince us that sex is a greatly overrated occupation. Every time a man glimpses a pretty girl pulling up her stocking, he catches a glimpse of what might be called the "primal sexual vision." It is unfortunate that there seems to be a certain disparity between this primal vision and most ordinary sexual experience. But it dances in front of us like a will-o'-the-wisp, luring us into tormented effort. It can lead novelists to write novels, poets to write poems, and musicians to write symphonies.”

Colin Wilson book The Misfits: A Study of Sexual Outsiders

Source: The Misfits: A Study of Sexual Outsiders (1988), p. 39

Sex , Girl , Reality , Effort

“When I was young, art for me was a new religion. Now I see the aims and ends of art as less grand. If I can catch the play of light on a wall, and catch it just so, that is enough for me. I don’t want to write about human behavior. Art now seems to me in many ways the absolute opposite of psychology. It’s simply saying, This is how it is. This is how it looks, how it feels. To describe things well is far more worthwhile than the kind of cheap psychologizing, or even expensive psychologizing, that the novel so often indulges in.”

John Banville (1945) Irish writer

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

Religion , Art , Way , Behavior

“Chapter XXX, conclusion of the novel”

James Fenimore Cooper (1789–1851) American author

The Sea Lions or The Lost Sealers (1849)

“Novels are the Socratic dialogs of our time. This free form has become the refuge of common sense in its flight from pedantry.”

Karl Wilhelm Friedrich Schlegel (1772–1829) German poet, critic and scholar

Die Romane sind die sokratischen Dialoge unserer Zeit. In diese liberale Form hat sich die Lebensweisheit vor der Schulweisheit geflüchtet.
Lucinde and the Fragments, P. Firchow, trans. (1991), “Critical Fragments,” § 26

Sense , Time

“I grew up very Christian … My family are still very Christian. I am in no way disrespecting them when I say this: it was overbearing. I believed I was touched by Jesus, and I prayed all the time. I was still very Christian when I left the Marines. I would tell everyone about Jesus — it was almost evangelical. I thought all the good things in my life were because of my faith.
When I came back from expeditions, I had some experiences that made me readdress all that. I'd pretty much known all along that Christianity wasn't for me. Ever since then, I've been on my own quest to find another truth. I can't read novels, but I do read books about cosmology, about astrophysics, about genetics. I'm interested in altered states of mind, and creation myths. It's all part of the same thing — I want to know why we think what we think. Now, I'd describe myself as pan-deist, reluctantly verging on atheist.”

Bruce Parry (1969) British documentarian

As quoted in "Bruce almighty: What drives Tribe's presenter-explorer Bruce Parry?" by Ed Caesar in The Independent (11 August 2007) http://www.independent.co.uk/news/people/bruce-almighty-what-drives-tribes-presenterexplorer-bruce-parry-461007.html

Life , Truth , Books , Family

“Should novels generally be 600 pages? No, they should not. Half of writing, maybe 3/4 of writing, is editing. This seems to be a thing that has not gotten through to them. It’s my impression that you could get rid of half of most of these books. These people are not good enough to be this long, but they’re apparently also not good enough to be shorter.”

Fran Lebowitz (1950) author and public speaker from the United States

Ruminator Magazine interview http://www.ruminator.com/?p=82 with Susannah McNeely (August/September 2005).

People , Books

“It may fairly be claimed that humanity has, within the past hundred years, found a way of carrying a theatre in its pocket; and so long as humanity remains what it is, it will delight in taking out its pocket-stage and watching the antics of the actors, who are so like itself and yet so much more interesting. Perhaps that is, after all, the best answer to the question, “What is a novel?” It is, or ought to be, a pocket-stage. Scenery, light, shade, the actors themselves, are made of words, and nothing but words, more or less cleverly put together. A play is good in proportion as it represents the more dramatic, passionate, romantic, or humorous sides of real life. A novel is excellent according to the degree in which it produces the illusions of a good play—but it must not be forgotten that the play is the thing, and that illusion is eminently necessary to success.”

Francis Marion Crawford (1854–1909) Novelist, short story writer, essayist (1854-1909)

The Novel: What It Is (1893)

Life , Way , Question , Light

“In 'pure' instrumental music, the strategies chosen by composers to create unity were responsive to the tenets of Romanticism…Even in the absence of an explicit program, motivic continuity created a kind of narrative coherence. Like the chief character in a novel, the 'fortunes' of the main motive--its development, variation, and encounters with other 'protagonists'--served as a source of constancy throughout the unfolding of the musical process.”

Leonard B. Meyer (1918–2007) American composer and philosopher

Style and Music: Theory, History, and Ideology (1989), ISBN 0226521524

Music , Motivation

“In the sect – fairly large and yet unusually choice – of Austenians or Janites, there would probably be found partisans of the claim to primacy of almost every one of the novels.”

George Saintsbury (1845–1933) British literary critic

Preface to Jane Austen's Pride and Prejudice (London: George Allen, 1894) p. ix

“Mr. Aldous Huxley, who is perhaps one of those people who have to perpetrate thirty bad novels before producing a good one, has a certain natural — but little developed — aptitude for seriousness.”

T.S. Eliot (1888–1965) 20th century English author

The Contemporary English Novelist, La Nouvelle Revue française (1 May 1927)

People , Nature

“Almost all the great novels have as their motif, more or less disguised, the "passage from childhood to maturity", the clash between the thrill of expectation, and the disillusioning knowledge of the truth.”

André Maurois (1885–1967) French writer

The Art of Writing

Truth , Knowledge , Childhood

“History is a novel whose author is the people.”

Alfred De Vigny (1797–1863) French poet, playwright, and novelist

L'histoire est un roman dont le peuple est l'auteur.
"Réflexions sur la vérité dans l'art", p. 6; translation from James H. Johnson Listening in Paris (1995) p. 252.
Cinq-Mars; ou, une conjuration sous Louis XIII (1826)

People , History

“Seems a novel enough way to commit suicide. Pass me m' pistol. See if I can't bring the blighter down in the lake.”

Vivian Stanshall (1943–1995) English musician, artist and author

observing a hang glider pilot
Sir Henry at Rawlinson End (1978)

Way , Suicide

“Book-to-screen adaptations must always strive for two things: First, you must find a way to tell the broad story of the original plot; second, you must somehow reflect the spirit and texture of the novel—that is, you must transform a lot of words into a few pictures. All those digressions, inner monologues, thought processes, turns of phrase, all those word pictures, and especially all that un-photographable stuff that made the novel so delicious, must somehow be represented onscreen by use of the filmmaker's tools: moving pictures, dialogue and performance, sets, costumes, music and all the other tricks of the trade. That's the process a writer must go through to create a successful blueprint for a film.”

Tommy Lee Wallace (1949) American film director

Tommy Lee Wallace on Crafting His Miniseries Masterpiece, IT https://dailydead.com/stephen-king-week-tommy-lee-wallace-on-crafting-his-miniseries-masterpiece-it/ (October 27, 2015)

Books , Music , Way , Success

“The more you realize that most judgements are greatly influenced by random, extraneous factors—that most people judging you are more like a fickle novel buyer than a wise and perceptive magistrate—the more you realize you can do things to influence the outcome.”

Paul Graham (1964) English programmer, venture capitalist, and essayist

"Two Kinds Of Judgment", April 2007

People

“It is rare for a novel to have an ending as good as its middle and beginning…”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“An Unread Book”, p. 25
The Third Book of Criticism (1969)

“The journalist researches a story. The novelist imagines it.
What’s funny is, you’d be amazed at the amount of time a novelist has to spend with people in order to create this single lonely voice. This seemingly isolated world.
It’s hard to call any of my novels “fiction.””

Chuck Palahniuk (1962) American novelist, essayist

Stranger Than Fiction: True Stories (2004)

People , World , Imagination , Time

“Since the beginning of our critical career, we have seen a vast deal of beautiful poetry pass into oblivion, in spite of our feeble efforts to recall or retain it in remembrance…The rich melodies of Keats and Shelley,—and the fantastical emphasis of Wordsworth,—and the plebeian pathos of Crabbe, are melting fast from the fields of our vision. The novels of Scott have put out his poetry. Even the splendid strains of Moore are fading into distance and dimness, except where they have been married to immortal music; and the blazing star of Byron himself is receding from its place of pride…. The two who have the longest withstood this rapid withering of the laurel, and with the least marks of decay on their branches, are Rogers and Campbell.”

Francis Jeffrey, Lord Jeffrey (1773–1850) British politician

Edinburgh Review (1829). He goes on to promise "enduring fame" to Felicia Hemans.

Beauty , Music , Star , Effort

““Pop, do we have heaven?” he’d asked on the day he discovered the (dead) cat. “You want to know a Jew’s idea of heaven?” his father had replied, looking up from his Maimonides. “It’s an endless succession of long winter nights on which we get paid a fair wage to sit in a warm room and read all the books ever written… Not just the famous ones, no, every book, the stuff nobody gets around to reading, forgotten plays, novels by people you never heard of. However, I profoundly doubt such a place exists.””

James K. Morrow book Only Begotten Daughter

Source: Only Begotten Daughter (1990), Chapter 1 (p. 13)

People , Books , Cats , Idea

“I hate it when something I’ve had published "inspires" some nut to imitate what I’ve written, or some teacher gets fired for having her students read one of my stories or novels.”

Richard Matheson (1926–2013) American fiction writer

"Ed Gorman Calling: We Talk to Richard Matheson" http://www.mysteryfile.com/Matheson/Interview.html (2004)

Hate , Teachers , Reading

“Prose will be used for the more objective branches of writing- novels, plays, essays.. Cadence will be used for personal, emotional, lyrical utterances in which the phrasing goes with a stronger beat and the words live together with an intense flame.”

F. S. Flint (1885–1960) English Imagist poet

Otherworld Cadences (1920)

Personality

“One of our universities recently made a survey of the reading habits of the American public; it decided that forty-eight percent of all Americans read, during a year, no book at all. I picture to myself that reader — that non-reader, rather; one man out of every two — and I reflect, with shame: "Our poems are too hard for him." But so, too, are Treasure Island, Peter Rabbit, pornographic novels — any book whatsoever.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"The Obscurity of the Poet," Harvard University lecture (15 August 1950), published in Poetry and the Age (1953)
General sources

Books , Universe , Reading

“When I was young I longed to write a great novel that should win me fame. Now that I am getting old my first book is written to amuse children.”

L. Frank Baum (1856–1919) Children's writer, editor, journalist, screenwriter

Personal inscription on a copy of Mother Goose in Prose (1897) which he gave to his sister, Mary Louise Baum Brewster, as quoted in The Making of the Wizard of Oz (1998) by Aljean Harmetz, p. 317
Letters and essays
Context: When I was young I longed to write a great novel that should win me fame. Now that I am getting old my first book is written to amuse children. For aside from my evident inability to do anything "great," I have learned to regard fame as a will-o-the-wisp which, when caught, is not worth the possession; but to please a child is a sweet and lovely thing that warms one's heart and brings its own reward.

Children , Books

“I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth.”

Philip K. Dick (1928–1982) American author

In Pursuit of Valis: Selections from the Exegesis (1991)
Context: I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation. Yet this seems somehow to help a certain kind of sensitive troubled person, for whom I speak. I think I understand the common ingredient in those whom my writing helps: they cannot or will not blunt their own intimations about the irrational, mysterious nature of reality, and, for them, my corpus of writing is one long ratiocination regarding this inexplicable reality, an investigation and presentation, analysis and response and personal history. My audience will always be limited to those people.

Truth , Art

“In the past, he had read of people with such public spirit and unselfish character only in novels. He had regarded them as nothing but ideal, imaginary creations of literary writers. Now he has seen such a hero in the flesh with his own eyes.”

Ba Jin (1904–2005) Chinese novelist

A Battle For Life (July 1958)
Context: Later the assistant chief surgeon told people that he had been a surgeon for eleven years, had seen not a few patients die and consequently had become quite cold and indifferent. He was interested only in diseases as such and had no feelings for his patients as people. But what Chiu Tsai-kang had said impressed him deeply. Even after he left the patient's room he thought it over for quite a long while. Here was a man awaiting death who had to clench his teeth to endure the searing pain of his whole body, but who constantly had the nation's steel production on his mind and who wholeheartedly desired to return to his furnace. In the past, he had read of people with such public spirit and unselfish character only in novels. He had regarded them as nothing but ideal, imaginary creations of literary writers. Now he has seen such a hero in the flesh with his own eyes.

People , Reading , Past

“I've made more money in novels than I did in my entire career in comics.”

Jim Starlin (1949) Comic creator

Interview at comicbookresources.com (28 July 2000) http://www.comicbookresources.com/news/newsitem.cgi?id=194
Context: I've made more money in novels than I did in my entire career in comics. The few years I did novels, they paid off so well, I don't have to be a slave to doing comics. But I'd rather do comics than novels. If I wanted to do it just for the money, I'd run off and do another novel. I just don't have the juice for it. I'm really not interested in it. It's a love for what this medium is.

Money

“The notions about the benefits of transgression in my last three novels are not ones I want to see fulfilled. Rather, they are extreme possibilities that may be forced into reality by the suffocating pressures of the conformist world we inhabit.”

J. G. Ballard (1930–2009) British writer

As quoted in "Age of unreason" by Jeannette Baxter in The Guardian (22 June 2004) http://www.guardian.co.uk/books/2004/jun/22/sciencefictionfantasyandhorror.jgballard
Context: The notions about the benefits of transgression in my last three novels are not ones I want to see fulfilled. Rather, they are extreme possibilities that may be forced into reality by the suffocating pressures of the conformist world we inhabit. Boredom and a deadening sense of total pointlessness seem to drive a lot of meaningless crimes, from the Hungerford and Columbine shootings to the Dando murder, and there have been dozens of similar crimes in the US and elsewhere over the past 30 years.
These meaningless crimes are much more difficult to explain than the 9/11 attacks, and say far more about the troubled state of the western psyche. My novels offer an extreme hypothesis which future events may disprove — or confirm. They're in the nature of long-range weather forecasts.

World , Reality

“The plots and stories in the novels did not interest me so much as the point of view revealed.”

Richard Wright book Black Boy

Black Boy (1945)

“Every one who has seriously investigated a novel question, who has really interrogated Nature with a view to a distinct answer, will bear me out in saying that it requires intense and sustained effort of imagination.”

George Henry Lewes (1817–1878) British philosopher

The Principles of Success in Literature (1865)
Context: Every one who has seriously investigated a novel question, who has really interrogated Nature with a view to a distinct answer, will bear me out in saying that it requires intense and sustained effort of imagination. The relations of sequence among the phenomena must be seen; they are hidden; they can only be seen mentally; a thousand suggestions rise before the mind, but they are recognised as old suggestions, or as inadequate to reveal what is sought; the experiments by which the problem may be solved have to be imagined; and to imagine a good experiment is as difficult as to invent a good fable, for we must have distinctly present — clear mental vision — the known qualities and relations of all the objects, and must see what will be the effect of introducing some new qualifying agent. If any one thinks this is easy, let him try it: the trial will teach him a lesson respecting the methods of intellectual activity not without its use.

Imagination , Question , Nature , Effort

“Repeatedly I took stabs at writing, but the results were so poor that I would tear up the sheets. I was striving for a level of expression that matched those of the novels I read. But I always somehow failed to get onto the page what I thought and felt. Failing at sustained narrative, I compromised by playing with single sentences and phrases. Under the influence of Stein’s Three Lives, I spent hours and days pounding out disconnected sentences for the sheer love of words. I would write: “The soft melting hunk of butter trickled in gold down the stringy grooves of the split yam.” Or: “The child’s clumsy fingers fumbled in sleep, feeling vainly for the wish of its dream.” “The old man huddled in the dark doorway, his bony face lit by the burning yellow in the windows of distant skyscrapers.” My purpose was to capture a physical state or movement that carried a strong subjective impression, an accomplishment which seemed supremely worth struggling for. If I could fasten the mind of the reader upon words so firmly that he would forget words and be conscious only of his response, I felt that I would be in sight of knowing how to write narrative. I strove to master words, to make them disappear, to make them important by making them new, to make them melt into a rising spiral of emotional stimuli, each greater than the other, each feeding and reinforcing the other, and all ending in an emotional climax that would drench the reader with a sense of a new world. That was the single aim of my living.”

Richard Wright book Black Boy

Black Boy (1945)

Love , World , Dreams , Feeling

“In literature you don't just read one poem or novel after another, but enter into a complete world of which every work of literature forms part.”

Northrop Frye (1912–1991) Canadian literary critic and literary theorist

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time
Context: In literature you don't just read one poem or novel after another, but enter into a complete world of which every work of literature forms part. This affects the writer as much as it does the reader.

World , Literature , Reading , Parting

“I'd like to be remembered as someone who kept the comic novel going for another generation or so.”

Martin Amis (1949) Welsh novelist

"Off the Page: Martin Amis" (2003)
Context: I'd like to be remembered as someone who kept the comic novel going for another generation or so. I fear the comic novel is in retreat. A joke is by definition politically incorrect — it assumes a butt, and a certain superiority in the teller. The culture won't put up with that for much longer.

“I think What Dreams May Come is the most important (read effective) book I’ve written. It has caused a number of readers to lose their fear of death — the finest tribute any writer could receive. … Somewhere In Time is my favorite novel.”

Richard Matheson (1926–2013) American fiction writer

"Ed Gorman Calling: We Talk to Richard Matheson" http://www.mysteryfile.com/Matheson/Interview.html (2004).

Death , Books , Fear , Dreams

“When I started life Hegelianism was the basis of everything: it was in the air, found expression in magazine and newspaper articles, in novels and essays, in art, in histories, in sermons, and in conversation. A man unacquainted with Hegel had no right to speak: he who wished to know the truth studied Hegel.”

Leo Tolstoy (1828–1910) Russian writer

Source: What then must we do? (1886), Chapter XXIX
Context: When I started life Hegelianism was the basis of everything: it was in the air, found expression in magazine and newspaper articles, in novels and essays, in art, in histories, in sermons, and in conversation. A man unacquainted with Hegel had no right to speak: he who wished to know the truth studied Hegel. Everything rested on him; and suddenly forty years have gone by and there is nothing left of him, he is not even mentioned — as though he had never existed. And what is most remarkable is that, like pseudo-Christianity, Hegelianism fell not because anyone refuted it, but because it suddenly became evident that neither the one nor the other was needed by our learned, educated world.

Life , Truth , Art , History

“A novel, or indeed any work of art, is not intended to be a literal transcription from Nature.”

James Branch Cabell (1879–1958) American author

Writing on Charles Dickens, in "In Defence of an Obsolete Author" in William and Mary College Monthly (November 1897), VII, p. 3-4
Context: A novel, or indeed any work of art, is not intended to be a literal transcription from Nature. … Life is a series of false values. There it is always the little things that are greatest. Art attempts to remedy this. It may be defined as an expurgated edition of Nature.

Art , Nature

“He took me to an office and introduced me to a Jewish boy who was to become one of the nation’s leading painters, to a chap who was to become one of the eminent composers of his day, to a writer who was to create some of the best novels of his generation, to a young Jewish boy who was destined to film the Nazi invasion of Czechoslovakia. I was meeting men and women whom I would know for decades to come, who were to form the first sustained relationships in my life.”

Richard Wright book Black Boy

Black Boy (1945)

Life , Women , Men , Boy

“Perhaps the novel evolved in order to deal with man's growing awareness that behind the facade of social organisations, manners, customs, myths, rituals and religions of the post-Christian era lies chaos.”

Ralph Ellison (1914–1994) American novelist, literary critic, scholar and writer

"Society, Morality and the Novel" (1957), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), pp. 699-700.
Context: Perhaps the novel evolved in order to deal with man's growing awareness that behind the facade of social organisations, manners, customs, myths, rituals and religions of the post-Christian era lies chaos. Man knows, despite the certainties which it is the psychological function of his social institutions to give him, that he did not create the universe, and that the universe is not at all concerned with human values. Man knows that even in this day of marvelous technology and the tenuous subjugation of the atom, that nature can crush him, and that at the boundaries of human order the arts and the instruments of technology are hardly more than magic objects which serve to aid us in our ceaseless quest for certainty. We cannot live, as someone has said, in the contemplation of chaos, but neither can we live without an awareness of chaos, and the means through which we achieve that awareness, and through which we assert our humanity most significantly against it, is in great art. In our time the most articulate art form for defining ourselves and for asserting our humanity is the novel. Certainly it is our most rational art form for dealing with the irrational.

Religion

“I grew up believing that the novel has nothing to do with pure literature. So I was taught by scholars.”

Pearl S. Buck (1892–1973) American writer

The Chinese Novel (1938)
Context: I grew up believing that the novel has nothing to do with pure literature. So I was taught by scholars. The art of literature, so I was taught, is something devised by men of learning. Out of the brains of scholars came rules to control the rush of genius, that wild fountain which has its source in deepest life. Genius, great or less, is the spring, and art is the sculptured shape, classical or modern, into which the waters must be forced, if scholars and critics were to be served. But the people of China did not so serve. The waters of the genius of story gushed out as they would, however the natural rocks allowed and the trees persuaded, and only common people came and drank and found rest and pleasure. For the novel in China was the peculiar product of the common people. And it was solely their property.

Literature

“A novel is never anything but a philosophy put into images.”

Albert Camus (1913–1960) French author and journalist

Review of Nausea by Jean-Paul Sartre, published in the newspaper Alger Républicain (20 October 1938), p. 5; reprinted in Selected Essays and Notebooks, translated and edited by Philip Thody
Context: A novel is never anything but a philosophy put into images. And in a good novel, the whole of the philosophy has passed into the images. But if once the philosophy overflows the characters and action, and therefore looks like a label stuck on the work, the plot loses its authenticity and the novel its life. Nevertheless, a work that is to last cannot dispense with profound ideas. And this secret fusion between experiences and ideas, between life and reflection on the meaning of life, is what makes the great novelist.

“I'd rather do comics than novels.”

Jim Starlin (1949) Comic creator

Interview at comicbookresources.com (28 July 2000) http://www.comicbookresources.com/news/newsitem.cgi?id=194
Context: I've made more money in novels than I did in my entire career in comics. The few years I did novels, they paid off so well, I don't have to be a slave to doing comics. But I'd rather do comics than novels. If I wanted to do it just for the money, I'd run off and do another novel. I just don't have the juice for it. I'm really not interested in it. It's a love for what this medium is.

“The writing of a novel or short story or poem or whatever should elevate the audience, not drag the writer down to some level beneath herself.”

Caitlín R. Kiernan (1964) writer

(10 January 2005)
Unfit for Mass Consumption (blog entries), 2005
Context: The writing of a novel or short story or poem or whatever should elevate the audience, not drag the writer down to some level beneath herself. And she — the author — should fight always to prevent that dragging down, especially when the only possible benefit of allowing it to happen is monetary.

“The “Lucifer Effect” describes the point in time when an ordinary, normal person first crosses the boundary between good and evil to engage in an evil action. It represents a transformation of human character that is significant in its consequences. Such transformations are more likely to occur in novel settings, in “total situations,” where social situational forces are sufficiently powerful to overwhelm, or set aside temporally, personal attributes of morality, compassion, or sense of justice and fair play.
Evil is the exercise of power to intentionally harm (psychologically), hurt (physically), or destroy (mortally or spiritually) others.”

Philip G. Zimbardo (1933) American social psychologist, author of Stanford Prison Experiment

In "Who was Lucifer and how did he become the Devil?" (2007) http://www.lucifereffect.com/lucifer.htm

Justice , Exercises , Sense , Evil

“I'm hopeless about novels just now”

Rose Macaulay (1881–1958) English novelist and writer

Potterism (1921) p.196. https://books.google.com/books?id=9tDSm2WzQxsC&pg=PA196
Context: Jane: What do you think of his book Arthur?
Gideon: I don't think of it. I've had no reason to, particularly. I've not had to review it.... I'm afraid I'm hopeless about novels just now, that's the fact. I'm sick of the form—slices of life served up cold in three hundred pages. Oh, it's very nice; it makes nice reading for people. But what's the use? Except, of course, to kill time for those who prefer it dead. But as things in themselves, as art, they've been ruined by excess. My critical sense is blunted just now. I can hardly feel the difference, though I can see it, between a good novel and a bad one. I couldn't write one, good or bad, to save my life, I know that. And I've got to the stage when I wish other people wouldn't. I wish everyone would shut up, so that we could hear ourselves think...

“It is a blind grasping out for their own wholeness, and the novel-report is a means toward it.”

Doris Lessing book The Golden Notebook

Anna Wulf, in "Free Women: 1"
The Golden Notebook (1962)
Context: The novel has become a function of the fragmented society, the fragmented consciousness. Human beings are so divided, are becoming more and more divided, and more subdivided in themselves, reflecting the world, that they reach out desperately, not knowing they do it, for information about other groups inside their own country, let alone about groups in other countries. It is a blind grasping out for their own wholeness, and the novel-report is a means toward it.

“But to poetry — You have to be willing to waste time. When you start a poem, stay with it and suffer through it and just think about nothing, not even the poem. Just be there. It's more of a prayerful state than writing the novels is. A lot of the novel is in doing good works, as it were, not praying.”

Robert Penn Warren (1905–1989) American poet, novelist, and literary critic

Interview with Richard B. Sale (1969)
Context: But to poetry — You have to be willing to waste time. When you start a poem, stay with it and suffer through it and just think about nothing, not even the poem. Just be there. It's more of a prayerful state than writing the novels is. A lot of the novel is in doing good works, as it were, not praying. And the prayerful state is just being passive with it, mumbling, being around there, lying on the grass, going swimming, you see. Even getting drunk. Get drunk prayerfully, though.

Thinking , Suffering , Time

“You want me to begin a novel with The two women were alone in the London flat?”

Doris Lessing book The Golden Notebook

Anna Wulf, in "The Golden Notebook"
The Golden Notebook (1962)

Women

“For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.”

J. G. Ballard book Crash

"Introduction" to the French edition (1974) of Crash (1973); reprinted in Re/Search no. 8/9 (1984)
Crash (1973)
Context: We live in a world ruled by fictions of every kind — mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.

Reality

“However novel it may appear, I shall venture the assertion that until women assume the place in society which good sense and good feeling alike assign to them, human improvement must advance but feebly.”

Frances Wright (1795–1852) American activist

Lecture II: Of Free Inquiry, considered as a Means for obtaining Just Knowledge
A Course of Popular Lectures (1829)
Context: However novel it may appear, I shall venture the assertion that until women assume the place in society which good sense and good feeling alike assign to them, human improvement must advance but feebly. It is in vain that we would circumscribe the power of one half of our race, and that half by far the most important and influential. If they exert it not for good they will for evil, if they advance not knowledge they will perpetuate ignorance. Let women stand where they may in the scale of improvement, their position decides that of the race.

Women , Feeling , Sense , Appearance

“Characters in novels are all fiction like the world they live in.”

Carole Morin British writer

Chin Wag At The Slaughterhouse (2013)
Context: Characters in novels are all fiction like the world they live in. Of course Vivien Lash has things in common with me but if she actually was me I wouldn’t have been able to invent her. And I’m not plotting to murder my husband!
The closest connection between me and my characters is that we live in a city that’s recognisable as London, but it’s a version of London that came out of my head.

World

“A Constitution is not intended to embody a particular economic theory... It is made for people of fundamentally differing views, and the accident of our finding certain opinions natural and familiar, or novel, and even shocking, ought not to conclude our judgment upon the question whether statutes embodying them conflict with the Constitution of the United States.”

Oliver Wendell Holmes Jr. (1841–1935) United States Supreme Court justice

198 U.S. at 76.
1900s, Lochner v. New York, 198 U.S. 45 (1905)

People , Question , Nature

“I don't know if Native Son is a good book or a bad book. And I don't know if the book I'm working on now will be a good book or a bad book. And I really don't care. The mere writing of it will be more fun and a deeper satisfaction than any praise or blame from anybody. I feel that I'm lucky to be alive to write novels today, when the whole world is caught in the pangs of war and change.”

Richard Wright (1908–1960) African-American writer

pg. xxxiv
Native Son (1940)

War , Books , World , Feeling

“Perspective is that part of a poem, novel, or play which a writer never puts directly upon paper. It is that fixed point in intellectual space where a writer stands to view the struggles, hopes, and sufferings of his people. There are times when he may stand too close and the result is a blurred vision. Or he may stand too far away and the result is a neglect of important things.”

Richard Wright (1908–1960) African-American writer

White Man, Listen! (1957)

People , Hope , Suffering , Time

“Furthermore, the younger members of our society have for some time been in growing rebellion against paternal authority and the paternal state. For one reason, the home in an industrial society is chiefly a dormitory, and the father does not work there, with the result that wife and children have no part in his vocation. He is just a character who brings in money, and after working hours he is supposed to forget about his job and have fun. Novels, magazines, television, and popular cartoons therefore portray "Dad" as an incompetent clown. And the image has some truth in it because Dad has fallen for the hoax that work is simply something you do to make money, and with money you can get anything you want.
It is no wonder that an increasing proportion of college students want no part in Dad's world, and will do anything to avoid the rat-race of the salesman, commuter, clerk, and corporate executive. Professional men, too—architects, doctors, lawyers, ministers, and professors—have offices away from home, and thus, because the demands of their families boil down more and more to money, are ever more tempted to regard even professional vocations as ways of making money. All this is further aggravated by the fact that parents no longer educate their own children. Thus the child does not grow up with understanding of or enthusiasm for his father's work. Instead, he is sent to an understaffed school run mostly by women which, under the circumstances, can do no more than hand out mass-produced education which prepares the child for everything and nothing. It has no relation whatever to his father's vocation.”

Alan Watts (1915–1973) British philosopher, writer and speaker

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 111

Women , Men , Money , Children

“The novel has become a function of the fragmented society, the fragmented consciousness.”

Doris Lessing book The Golden Notebook

Anna Wulf, in "Free Women: 1"
The Golden Notebook (1962)
Context: The novel has become a function of the fragmented society, the fragmented consciousness. Human beings are so divided, are becoming more and more divided, and more subdivided in themselves, reflecting the world, that they reach out desperately, not knowing they do it, for information about other groups inside their own country, let alone about groups in other countries. It is a blind grasping out for their own wholeness, and the novel-report is a means toward it.

“Fame was sufficiently novel for me to be flattered by the company I would be keeping. I had not bothered to read her writings; her evisceration of other victims was thus unknown to me.”

Henry Kissinger (1923–2023) United States Secretary of State

1970s
Context: Ever since the secret trip to China, my own relationship with Nixon had grown complicated. Until then I had been an essentially anonymous White House assistant. But now his associates were unhappy, and not without reason, that some journalists were giving me perhaps excessive credit for the more appealing aspects of our foreign policy while blaming Nixon for the unpopular moves.
These tendencies were given impetus by an interview I granted to the Italian journalist Oriana Fallaci, without doubt the single most disastrous conversation I ever had with any member of the press. I saw her briefly on Nov. 2 and 4, 1972, in my office. I did so largely out of vanity. She had interviewed leading personalities all over the world. Fame was sufficiently novel for me to be flattered by the company I would be keeping. I had not bothered to read her writings; her evisceration of other victims was thus unknown to me.

As quoted in "Special Section: Chagrined Cowboy" in TIME magazine (8 October 1979) http://www.time.com/time/magazine/article/0,9171,916877,00.html

Reading

“Charles Lindbergh, in life as in my novel, may have been a genuine racist and an anti-Semite and a white supremacist sympathetic to Fascism, but he was also — because of the extraordinary feat of his solo trans-Atlantic flight at the age of 25 — an authentic American hero 13 years before I have him winning the presidency. … Trump, by comparison, is a massive fraud, the evil sum of his deficiencies, devoid of everything but the hollow ideology of a megalomaniac.”

Philip Roth (1933–2018) American novelist

Comparing Charles Lindbergh's leadership of an "America First" movement with that of Donald Trump, in responses to being asked about foreseeing an America such as now exists in his earlier writings, including his alternate-history novel The Plot Against America (2004) where Lindbergh defeated FDR for the presidency in 1940, as quoted in "No Longer Writing, Philip Roth Still Has Plenty to Say" by Charles Mcgrath, in The New York Times (16 January 2018) https://www.nytimes.com/2018/01/16/books/review/philip-roth-interview.html
Context: No one I know of has foreseen an America like the one we live in today. No one (except perhaps the acidic H. L. Mencken, who famously described American democracy as “the worship of jackals by jackasses”) could have imagined that the 21st-century catastrophe to befall the U. S. A., the most debasing of disasters, would appear not, say, in the terrifying guise of an Orwellian Big Brother but in the ominously ridiculous commedia dell’arte figure of the boastful buffoon. How naïve I was in 1960 to think that I was an American living in preposterous times! How quaint! But then what could I know in 1960 of 1963 or 1968 or 1974 or 2001 or 2016? … However prescient The Plot Against America might seem to you, there is surely one enormous difference between the political circumstances I invent there for the U. S. in 1940 and the political calamity that dismays us so today. It’s the difference in stature between a President Lindbergh and a President Trump. Charles Lindbergh, in life as in my novel, may have been a genuine racist and an anti-Semite and a white supremacist sympathetic to Fascism, but he was also — because of the extraordinary feat of his solo trans-Atlantic flight at the age of 25 — an authentic American hero 13 years before I have him winning the presidency. … Trump, by comparison, is a massive fraud, the evil sum of his deficiencies, devoid of everything but the hollow ideology of a megalomaniac.

Life , Age , Fraud , Evil

“Van Vogt was the pinnacle, the source of power and ideas; the writer to beat. Because he embodied in his astonishing novels and assorted stories what we always say is of prime importance to us in this genre-the much vaunted Sense of Wonder.
Van Vogt was the wellspring of wonder.”

Harlan Ellison (1934–2018) American writer

In recognition of van Vogt receiving the Grand Master designation in 1996, in The Nebula Awards Vol. 31, as quoted in SF Authors Remember A.E. van Vogt (2000) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm#SF%20Authors%20Remeber%20A.E.%20van%20Vogt
Context: Even the brightest star shines dimly when observed-from too far away. And human memory is notoriously unreliable. And we live in ugly times when all respect for that which has gone before suffers crib death beneath the weight of youthful arrogance and ignorance. But a great nobility has at last, been recognized and lauded. Someone less charitable than I might suggest the honor could have been better appreciated had it not been so tardy, naming its race with a foe that blots joy and destroys short-term memory. But I sing the Talent Electric, and like aft the dark smudges of history, everything but the honor and die achievement remains for the myth-makers.
Alfred E. van Vogt has been awarded the Grand Master trophy of the Science Fiction and Fantasy Writers of America. He is not the to first person to receive this singular accolade…given only to those whose right to possess it is beyond argument or mitigation.
Were we in 1946 or even 1956, van Vogt would have already been able to hold the award aloft. Had SFWA existed then and had the greatest living sf authors been polled as to who was the most fecund, the most intriguing, the mast innovative the most influential of their number, Isaac and Arthur and Cyril and Hank Kuttner and Ron Hubbard would all have pointed to the same man, and Bob Heinlein would've given him a thumbs-up. Van Vogt was the pinnacle, the source of power and ideas; the writer to beat. Because he embodied in his astonishing novels and assorted stories what we always say is of prime importance to us in this genre-the much vaunted Sense of Wonder.
Van Vogt was the wellspring of wonder. … That's how important he was. … And then came the dark years during which the man was shamefully agented and overlooked; and even the brightest star loses its piercing light if observed through the thickening mists of time and flawed memory.
Now it is lifetimes later, and the great award has, at last, been presented. To some, less charitable than I, something could be said about a day late and a dollar short, but not I. I am here to sing the Talent Electric, and it is better now than never. He is the Grand Master, A. E. can Vogt, weaver of a thousand ideas per plot-line, creator of alien thoughts and impossible dreams that rival the best ever built by our kind.
This dear, gentlemanly writer whose stories can still kill you with a concept or warm you with a character, now joins the special pantheon.

Idea , Sense

“My novels offer an extreme hypothesis which future events may disprove — or confirm. They're in the nature of long-range weather forecasts.”

J. G. Ballard (1930–2009) British writer

As quoted in "Age of unreason" by Jeannette Baxter in The Guardian (22 June 2004) http://www.guardian.co.uk/books/2004/jun/22/sciencefictionfantasyandhorror.jgballard
Context: The notions about the benefits of transgression in my last three novels are not ones I want to see fulfilled. Rather, they are extreme possibilities that may be forced into reality by the suffocating pressures of the conformist world we inhabit. Boredom and a deadening sense of total pointlessness seem to drive a lot of meaningless crimes, from the Hungerford and Columbine shootings to the Dando murder, and there have been dozens of similar crimes in the US and elsewhere over the past 30 years.
These meaningless crimes are much more difficult to explain than the 9/11 attacks, and say far more about the troubled state of the western psyche. My novels offer an extreme hypothesis which future events may disprove — or confirm. They're in the nature of long-range weather forecasts.

Nature , Future , Weather

“I began plotting novels at about the time I learned to read.”

James Baldwin (1924–1987) (1924-1987) writer from the United States

Autobiographical Notes (1952)
Context: I began plotting novels at about the time I learned to read. The story of my childhood is the usual bleak fantasy, and we can dismiss it with the restrained observation that I certainly would not consider living it again.

Learning , Time , Reading

Quotes about novel page 7

Quotes about novel
page 7