Quotes about novel (794 quotes, page 8)

“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.”

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.

Art , Time

“If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel.”

Azar Nafisi book Reading Lolita in Tehran

Reading Lolita in Tehran (2003)
Context: A novel is not an allegory... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.

World , Heart

“At some point, I stopped and made the following note to myself: I have never finished a story. I'm beginning to see that now. I don't think that there's ever a point where a story or novel is just exactly right.”

Caitlín R. Kiernan (1964) writer

(29 January 2005)
Unfit for Mass Consumption (blog entries), 2005
Context: At some point, I stopped and made the following note to myself: I have never finished a story. I'm beginning to see that now. I don't think that there's ever a point where a story or novel is just exactly right. There are only finer and lesser degrees of refinement, and even those are probably subjective. You might think it's perfect for a time, but read it a year or five years later, and you'll see you were mistaken. There's always something I can make better, every time I read one of my stories. Usually there are dozens of somethings. And I once thought this wasn't true, that a story reached a certain point and beyond that point you were only changing things, making them different, not making them better. Indeed, I thought, beyond a point, you risk screwing it all up. I don't think that anymore. You risk screwing it all up right from the start, and no story is ever as perfect as it can be. Perfection is always one or two polishes away from the writer.

Thinking

“Suspending moral judgment is not the immorality of the novel; it is its morality.”

Milan Kundera (1929–2023) Czech author of Czech and French literature

Testaments Betrayed (1995), p. 7
Context: Suspending moral judgment is not the immorality of the novel; it is its morality. The morality that stands against the ineradicable human habit of judging instantly, ceaselessly, and everyone; of judging before, and in the absence of, understanding. From the viewpoint of the novel’s wisdom, that fervid readiness to judge is the most detestable stupidity, the most pernicious evil.

“Not to know the end of the tale filled me with a sense of emptiness, loss. I hungered for the sharp, frightening, breathtaking, almost painful excitement that the story had given me, and I vowed that as soon as I was old enough I would buy all the novels there were and read them to feed that thirst for violence that was in me, for intrigue, for plotting, for secrecy, for bloody murders.”

Richard Wright book Black Boy

Black Boy (1945)

Hunger , Pain , Sense , Loss

“I write short stories. They may appear big in size, but when you consider it, they're four or five novels in one.”

James Clavell (1921–1994) American novelist

Interview with Don Swaim (1986)
Context: I write short stories. They may appear big in size, but when you consider it, they're four or five novels in one. … In return for picking up one of my books, I'm trying to give them value for their money. … the goal of writing any book is to create the illusion that what you are reading is reality and you're part of it.

Appearance

“We have witnessed a revolution in the history of science. Not the sort of revolution that philosophers of science once believed in—they don't happen any more—but a revolution brought about by new tools, different ways of seeing, and novel ways of understanding. Nothing old needed to be overthrown to make way for the new.
The future of science will be increasingly dominated by artificial images and simulations.”

John D. Barrow (1952–2020) British scientist

Preface
Cosmic Imagery: Key Images in the History of Science (2008)

Way , History , Understanding , Science

“I would never condone the burning of a Dan Brown novel, much though I loathe and detest his work. Well, I say "work", you know, words, randomly arranged to form millions of dollars… I'm not bitter at all…”

Bill Bailey (1965) English comedian, musician, actor, TV and radio presenter and author

Dandelion Mind (2010)

“Life is God's novel. Let him write it. ”

Georg Büchner (1813–1837) German dramatist and writer of poetry and prose

Life , God

“When we were living in Colorado there was snowfall. Our cat — I’m a cat man — wanted to get out of the house so I opened a door for him but he wouldn’t leave. Just kept on crying. He’d seen snow before and I couldn’t understand it. I kept opening other doors for him and he still wouldn’t leave. Then Ginny said, «Oh, he’s looking for a door into summer». I threw up my hands, told her not to say another word, and wrote the novel «The Door Into Summer» in 13 days.”

Robert A. Heinlein (1907–1988) American science fiction author

Cats , Understanding , Summer , Housing

“Every novel worthy of the name is like another planet, whether large or small, which has its own laws just as it has its own flora and fauna.”

Francois Mauriac (1885–1970) French author

Law

“I think it was the first novel I’d actually read in my own time, and of my own volition. I’d actually sat down and read a book, and I was 21. Ridiculous. I can’t remember reading anything before.”

Barry Hines (1939–2016) British author

On Animal Farm
Barry Hines 1970 interview

Thinking , Books , Reading , Time

“It’s incredibly misogynist to tell me I can only write a certain type of woman. Because that’s saying women must be a certain type of person. That puts us back to the Stone Age—like women are saints and therefore not human and if we stray beyond that model, we’ll be severely punished. It denies us any humanity. It doesn’t even bother me. It just bounces off me. It’s such a ridiculous notion that my novels are misogynist because I don’t write the kind of women you want.”

Gillian Flynn (1971) American author and critic

On her novels being called misogynistic in “Gillian Flynn Isn’t Going to Write the Kind of Women You Want” https://www.vanityfair.com/hollywood/2018/06/gillian-flynn-isnt-going-to-write-the-kind-of-women-you-want in Vanity Fair (2018 Jun 28)

Women , Personality , Age

“I live with them for a long time in my head. When I first start writing about a character, I don’t know them that well. It’s through the process of writing of putting them in scenes, and contemplating them—when I’ve spent more time with them—that they take on more flesh. When I start writing, I have a lot of characters that I’m not sure what their place in the novel will be…And some characters recede as I put more flesh on them. I think I don’t really need them; they’re not giving me anything. Or they’re there for a particular effect, and that’s it.”

Tracy Chevalier (1962) American writer

On how she formulates her characters in “An Interview with Tracy Chevalier” https://fictionwritersreview.com/interview/an-interview-with-tracy-chevalier/ in Fiction Writers Review (2019 Sep 23)

Thinking , Time

“I have huge respect for short stories—I just find them much harder to get right than a novel. A novel is a lot baggier and it gives you more leeway to go on for too long or to make mistakes. Whereas in a short story, every sentence, every word, matters—and that’s very hard. I think it’s easier to write too much than it is to write exactly the right thing.”

Tracy Chevalier (1962) American writer

On how she compares short story writing to novel writing in “An Interview with Tracy Chevalier” https://fictionwritersreview.com/interview/an-interview-with-tracy-chevalier/ in Fiction Writers Review (2019 Sep 23)

Thinking , Making love

“I do more non-fiction writing. I have two memoirs, another nonfiction book, and I do lots of essays, journalism, poetry, and reporting. But I love the fiction. As you know I have a novel, a short story collection, and two children’s books. It’s more challenging to write fiction, but I’d like to do more of these. I don’t really prefer one over the other.”

Luis J. Rodriguez (1954) pinto poetry, Chicanismo, and Chicano literature

On his writing preferences in “An Interview with Luis J. Rodriguez” https://www.epl.org/an-interview-with-luis-j-rodriguez-2/ (Evanston Public Library; 2011)

Love , Making love , Children , Books

“When I decided to write a novel, I had two full time jobs and three children under the age of six, so I don’t want anyone telling me they don’t have time to write a book, but I learned to work in the middle of the night, and I still do that…”

Diana Gabaldon (1952) American author

On balancing novel writing with her personal life in “Diana Gabaldon on Her ‘Outlander’ Writing Process & Knowing Sam Heughan Was Jamie” https://collider.com/diana-gabaldon-outlander-interview/ in Collider (2018 Aug 2)

Time , Night , Children , Learning

“I was just looking for a time and place in which to set a historical novel because I wanted to practise writing one. I wasn’t going to show it to anyone, let alone get it published, so it didn’t really matter where I set it. I saw this young man in a kilt and thought that was quite fetching, so why not Scotland in the 18th century?”

Diana Gabaldon (1952) American author

On what inspired her to write a historical novel in “Caught Between Two Worlds – Diana Gabaldon Interview” https://www.scotsmagazine.com/articles/diana-gabaldon-outlander-inspiration/ in The Scots Magazine (2018 Mar 2)

Time

“I didn’t write Fahrenheit 451 about us. I wrote it about Stalin and Mussolini and Hitler. … I may not even talk about book banning if I don’t feel like it. I don’t prepare anything ahead. I have a dozen subjects to talk about because I write plays and poetry and essays, short stories and novels and screenplays and teleplays and operas. I’ll get lost, and the audience will have a wonderful time. And I’ll get a standing ovation, and they’ll go home.”

Ray Bradbury (1920–2012) American writer

Bradbury Talk Likely to Feature the Unexpected (1994)

Home , Books , Feeling , Time

“It can be considered by many to be foolhardy, especially when you’re messing with what’s considered a sacred text. But it’s also an irresistible challenge, isn’t it? It evokes so many different wild and outrageous and beautiful images that anyone who loves both novels and films can’t help but imagine what it would look like on the big screen. In this case I’m glad they took the challenge on. I think Marquez is glad too. Apparently he’s seen it and he’s responded favorably to it, he likes it. The trick is, as you aptly point out, is how to do it but how to do it well. Because it’s not an easy translation to make, and certainly nearly impossible when you’re talking about a great novel, which this is. The best you can hope for really is to capture the essence of the book, and I think the film has done that, which is good news.”

Benjamin Bratt (1963) American actor

On adapting a literary masterpiece for the big screen in “Interview: Benjamin Bratt” https://www.cinemablend.com/new/Interview-Benjamin-Bratt-6673.html in Cinema Blend

Imagination , Beauty , Hope , Help

“For the most part, romance novels are stories about women finding and taking up space for themselves. And not just taking up space, but daring to find happiness. And yes, romance novels are about the fantasy—the heterosexual fantasy—of having the perfect relationship with a man, but it’s also about women taking power over their sexuality, women taking control over their lives, women making themselves vulnerable to all the intimacies of love…”

Marjorie M. Liu (1979) American writer

On her views of the romance genre in “Marjorie Liu: Making a Monstress” https://www.guernicamag.com/making-a-monstress/ in Guernica (2016 Feb 15)

Perfection , Parting , Love , Making love

“I have a term I came up with called fusion fiction – that’s what it felt like, with the absence of full stops, the long sentences. The form is very free-flowing and it allowed me to be inside the characters’ heads and go all over the place – the past, the present. For me, there’s always a level of experimentation – I’m not happy writing what we might call traditional novels…”

Bernardine Evaristo (1959) British writer

On what she calls her writing style in “Bernardine Evaristo: ‘I want to put presence into absence’” https://www.theguardian.com/books/2019/apr/27/bernardine-evaristo-girl-woman-other-interview in The Guardian (2019 Apr 27)

Past , Happiness

“I wanted to put presence into absence. I was very frustrated that black British women weren’t visible in literature. I whittled it down to 12 characters – I wanted them to span from a teenager to someone in their 90s, and see their trajectory from birth, though not linear. There are many ways in which otherness can be interpreted in the novel – the women are othered in so many ways and sometimes by each other. I wanted it to be identified as a novel about women as well.”

Bernardine Evaristo (1959) British writer

On her novel Girl, Woman, Other in “Bernardine Evaristo: ‘I want to put presence into absence’” https://www.theguardian.com/books/2019/apr/27/bernardine-evaristo-girl-woman-other-interview in The Guardian (2019 Apr 27)

Way , Birth , Literature , Women

“My main concern was to write a novel that uses all of this stuff that is accessible, to write a novel that deals with white racism and Chinese American history and the real Chinese fairy tales and the heroic tradition, and to demonstrate that a Chinese American could do all of this without sending whites up the wall or alienating anybody…”

Frank Chin (1940) American writer

On his novel Donald Duk (as quoted in ““FRANK CHIN: HIS OWN VOICE” https://resisters.com/by-frank-abe/frank-chin-his-own-voice/ in the Bloombury Review; September 1991)

History

“Who does the novel belong to? I am writing about a different reality, so I need to shape it to fit my reality. You don’t want to do the same. You don’t want to do the done thing. To take a risk, you still need to be absolutely on the margins. I am doing what I want to do.”

Meena Kandasamy (1984) Indian poet

On how she defines herself as a writer in “Meena Kandasamy: ‘If I was going to write my life story, I would condense that marriage to a footnote’” https://www.theguardian.com/books/2019/nov/25/meena-kandasamy-interview-exquisite-cadavers in The Guardian (2019 Nov 25)

Reality

“I love when a crucial novel leaves a trace in my memory. In this, its ending plays a significant part—creating a wake effect that is never erased.”

Maylis de Kerangal (1967) French writer

On the writings that she favors in “Maylis de Kerangal by Jessica Moore” https://bombmagazine.org/articles/maylis-de-kerangal/ in Bomb Magazine (2015 Dec 15)

Love , Making love , Memory , Parting

“So the novel is a race, and I can see the finish line from the first sentence: it’s an intuition that magnetizes the entire text. The closer I get to the goal, the faster I want to go. There’s even a sense of urgency, of hurrying, as though I was out of breath and had to, at all costs, finish before I ran out of strength. So I find that my endings are often too quick, not unfolded enough, not majestic enough…”

Maylis de Kerangal (1967) French writer

On the endings of her works in “Maylis de Kerangal by Jessica Moore” https://bombmagazine.org/articles/maylis-de-kerangal/ in Bomb Magazine (2015 Dec 15)

Sense

“I am the sort of writer who needs another form to tell me who I am and what has happened to me…I think all my novels are self-portraits, but there’s no one character who resolves me, or catalyses me, or is me.”

Maylis de Kerangal (1967) French writer

On writing in “‘What is a heart? You have an organ in your body and you have a symbol of love’” https://www.theguardian.com/books/2017/apr/28/maylis-de-kerangal-interview-wellcome-prize-writing in The Guardian (2017 Apr 28)

Self-confidence , Thinking

“As a child, I witnessed a great deal of violence and persecution as well as social unrest during The Cultural Revolution...This experience has made me understand the complexity of human nature and society—I’ve realized that the future of human civilization is also full of danger and uncertainty. Such understanding is manifested in my science fiction novels…”

Liu Cixin (1963) Chinese science fiction writer

On how his childhood experiences shaped his writings in “In the Author’s Universe: Interview with Sci-Fi Author Cixin Liu” https://vocal.media/futurism/in-the-authors-universe-interview-with-sci-fi-author-cixin-liu in Vocal (2016)

Science , Future , Understanding , Nature

“Nothing happens for the first time, especially if what you’re trying to do is to invent something absolutely novel and unprecedented. Of course, if nothing happens for the first time, that leaves the apparent problem of how anything happens at all. But the difficulty is entirely semantic: in the eternal recurrence of subatomic configurations of which our world is a simulacrum, there is no question of beginnings or endings. There are only middles, continuations, repetitions. Originality is a concept possible only to a limited viewpoint.”

Robert Sheckley (1928–2005) American writer

Slaves of Time (pp. 14-15)
Short fiction, The Robot Who Looked Like Me (1978)

World , Problem , Time , Question

“If humans are to colonize another planet, we better have a powerful immune system to protect us from deadly new pathogens. H.G. Wells’ novel The War of the Worlds reminds us that the invading Martians overpowered humans but were killed by earthly pathogens to which they had no immunity.”

Newton Lee American computer scientist

The Transhumanism Handbook, 2019

World , War

“I never intended to write solely about Arab characters, or even primarily about them, but because they were such a big part of my first two novels and my memoir, people reckoned that was my main literary terrain. It wasn’t really a deliberate decision to move away from Arab characters in my later books, but more a desire to paint on a broader canvas, one that was closer to my day-to-day experience.”

Diana Abu-Jaber (1960) Novelist, short story writer, teacher

On character writing in “‘America is not the Final Word:’ An Interview with Diana Abu-Jaber” https://solsticelitmag.org/blog/america-not-final-word-interview-diana-abu-jaber/ in Solstice

Painting , People , Books , Decision

“The setting, with all of its contradictions, is crucial. The land provides a deceptive promise of freedom, yet also presents itself as a burden. I’m drawn to these contradictions. They feed the emotional intensity of the novel…”

Jon Pineda (1971) American writer

On placing his characters on a stretch of land in “Coming of Age With a Dog Named Marianne Moore” https://chireviewofbooks.com/2018/06/01/lets-no-one-get-hurt-jon-pineda-interview/ in the Chicago Review of Books (2018 Jun 1)

Freedom

“I think it’s relative to the story you’re writing. Some novels are filled with summary and some are filled with scenes. Others are a beautiful, confusing mix, of course. Ultimately, I wanted to write a novel that I’d want to read later.”

Jon Pineda (1971) American writer

On choosing a story writing method in “7 QUESTIONS WITH JON PINEDA” https://hyphenmagazine.com/blog/2018/06/7-questions-jon-pineda in Hyphen Magazine (2018 Jun 7)

Beauty , Thinking , Reading

“When I start, I have a story that tends to have a lesson to be learnt. A lot of the time my novels are called novels for young adults and I think one of the reasons they are popular with young adults is because they read them and understand it…”

Benjamin Zephaniah (1958) English poet and author

On the appeal of his writings in “Interview | Benjamin Zephaniah” https://www.thelondonmagazine.org/interview-benjamin-zephaniah/ in the London Magazine (2018 Mar 5)

Thinking , Time , Reading , Understanding

“The selfish gene theory is Darwin’s theory, expressed in a way that Darwin did not choose but whose aptness, I should like to think, he would instantly have recognized and delighted in. It is in fact a logical outgrowth of orthodox neo-Darwinism, but expressed as a novel image. Rather than focus on the individual organism, it takes a gene’s eye view of nature. It is a different way of seeing, not a different theory.”

Richard Dawkins book The Selfish Gene

Preface to Second Edition (1989)
The Selfish Gene (1976, 1989)

Way , Selfishness , Thinking , Nature

“Implicitly, the novel insists that a true war story has to take into account not just combat and soldiers, but civilians, the home front, and the military-industrial complex. For me, war is more than guns and shooting. That’s the spectacle that distracts us from how pervasive war is throughout a society and how it makes all of us complicit through things like paying taxes and watching horrifying images on TV without doing anything to stop them from happening…”

Viet Thanh Nguyen (1971) American author of fiction

On his work The Sympathizer in “Viet Thanh Nguyen: From both sides” https://www.writermag.com/writing-inspiration/author-interviews/viet-thanh-nguyen-sides/ in The Writer (2017 Jan 17)

War , Home , Making love

“They have read your novel... and they said only one thing, that, unfortunately, it is not finished. So I wanted to show you your hero. He has been sitting here for about two thousand years, sleeping, but, when the moon is full, he is tormented, as you see, by insomnia. And it torments not only him, but his faithful guardian, the dog. If it is true that cowardice is the most grave vice, then the dog, at least, is not guilty of it. The only thing that brave creature ever feared was thunderstorms. But what can be done, the one who loves must share the fate of the one who is loved.”

Mikhail Bulgakov book The Master and Margarita

Book Two in 'Time to Go! Time to Go!', B/O, here Woland is speaking to the Master about Pontius Pilate
The Master and Margarita (1967)

Sleep , Faith , Reading , Fate

“I think it was the ability of the theater to communicate ideas and extol virtues that drew me to it. And also I was, and remain, fascinated by the idea of an audience as a community of people who gather willingly to bear witness. A novelist writes a novel and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling.”

August Wilson (1945–2005) American playwright

On what attracted him to theater in “August Wilson, The Art of Theater No. 14” https://www.theparisreview.org/interviews/839/august-wilson-the-art-of-theater-no-14-august-wilson in The Paris Review (Winter 1999)

Time , Reading , Personality , People

“Poetry was a meeting of mind and heart, I felt at one with poetry itself. I like the concentrated language, the play with form, and the way you can muck around with words in a way that you can’t in a novel. Poetry allows you to be intense, because to some degree people expect it.”

Daljit Nagra (1966) British poet, teacher and broadcaster

On how he views poetry in “Daljit Nagra” https://www.aestheticamagazine.com/daljit-nagra/ in Aesthetica

Way , People , Heart

“I chose to rewrite it in poetry because the original Ramayana was in poetry- the fact is, it’s sort of been corrupted into prose. In its original form it was an epic poem rather like the Iliad or works of that sort. Rather than traditional poetry, it was a verse novel, without a traditional structure. What I most wanted to do was to preserve the essential musicality of the lines. Especially as the Ramayana like so many stories, was based on a fundamentally oral tradition.”

Daljit Nagra (1966) British poet, teacher and broadcaster

On reworking the Ramayana in “An Interview With Daljit Nagra” https://www.thebubble.org.uk/culture/literature/an-interview-with-daljit-nagra/ in The Bubble (2014 Sept 17)

Music

“Attempting to define reality is a core feature of authoritarianism. This is what the Soviets did when they erased political dissidents from historical photos. This is what happens in George Orwell’s classic novel Nineteen Eighty-Four, when a torturer holds up four fingers and delivers electric shocks until his prisoner sees five fingers as ordered. The goal is to make you question logic and reason and to sow mistrust towards exactly the people we need to rely on: our leaders, the press, experts who seek to guide public policy based on evidence, ourselves.”

Hillary Clinton What Happened

"Showing Up" https://books.google.com/books?id=UjAIDgAAQBAJ&pg=PA9, What Happened (2017), Simon & Schuster.
Post Presidential Election

Photo , Question , People , Reality

“For many years my nerves were like electric wires. Then I discovered the first axiom of human accord: I accept each person on his own terms. I keep a close tongue in my head; I offer opinions only when so solicited. What a remarkable change! Dissension vanishes, novel facts emerge, digestion flows like a wide river.”

Jack Vance Demon Princes

Source: Demon Princes (1964-1981), The Face (1979), Chapter 7 (pp. 75-76)

Personality , Change

“I want to take poetry to walk other genres. I want poetry to walk through other genres. When I started writing, this was my main concern: get out of poetry. Let poetry walk the streets of New York. Make her cosmopolitan. See the world. Not in these estrofas, not in these stanzas, which are camisas de fuerza. I have to get out of poetry. I have to do what James Joyce did to the novel: he took the novel out of the novel…”

Giannina Braschi (1953) Puerto Rican writer

On how she hopes to change poetry by bringing it towards visual art in “A Graphic Revolution Talking Poetry & Politics with Giannina Braschi” https://www.academia.edu/36916781/A_Graphic_Revolution_Talking_Poetry_and_Politics_with_Giannina_Braschi in Chiricú Journal (2018)

World , Making love

“For adaptations based on the novel see The War of the Worlds (disambiguation).”

H. G. Wells book The War of the Worlds

The War of the Worlds (1898)

World , War

“The construction of short stories calls for a markedly different set of mind than work on a novel, and for me short stories are at once more interesting and more difficult to write than longer work. The comparative brevity of the story dictates more economical and accurate use of words and images, a limited palette of events, fewer characters, tighter dialogue, strong title and punctuation that works to move the story forward. If the writer is trying to illustrate a particular period or place, a collection of short stories is a good way to take the reader inside a house of windows, each opening onto different but related views—a kind of flip book of place, time and manners.”

Annie Proulx (1935) American novelist, short story and non-fiction author

On her short story collection Close Range: Wyoming Stories in “An Interview with Annie Proulx” https://www.missourireview.com/article/an-interview-with-annie-proulx/ in The Missouri Review (1999 Mar 1)
Personal life and writing career

Time , Housing , Strong , Books

“Taking a close look at what is around us, there is some sort of a harmony. It is the harmony of overwhelming and collective murder. And we in comparison to the articulate vileness and baseness and obscenity of all this jungle, we in comparison to that enormous articulation, we only sound and look like badly pronounced and half-finished sentences out of a stupid suburban novel, a cheap novel. And we have to become humble in front of this overwhelming misery and overwhelming fornication, overwhelming growth, and overwhelming lack of order. Even the stars up here in the sky look like a mess. There is no harmony in the universe. We have to get acquainted to this idea that there is no harmony as we have conceived it. But when I say this all full of admiration for the jungle. It is not that I hate it, I love it, I love it very much, but I love it against my better judgment.”

Werner Herzog (1942) German film director, producer, screenwriter, actor and opera director

Burden of Dreams (1982)

Hate , Star , Universe , Stupidity

“The mystery story is a kind of writing that need not dwell in the shadow of the past and owes little if any allegiance to the cult of the classics. It is a good deal more than unlikely that any writer now living will produce a better historical novel than Henry Esmond, a better tale of children than The Golden Age, a sharper social vignette than Madame Bovary, a more graceful and elegant evocation than The Spoils of Poynton, a wider and richer canvas than War and Peace or The Brothers Karamazov.”

Raymond Chandler book The Simple Art of Murder

But to devise a more plausible mystery than The Hound of the Baskervilles or The Purloined Letter should not be too difficult. Nowadays it would be rather more difficult not to.
Introduction
The Simple Art of Murder (1950)

Peace , War , Past , Children

“I also believe that Spinoza, like Nietzsche and Schopenhauer, on whose lives and philosophy I have based two earlier novels, wrote much that is highly relevant to my field of psychiatry and psychotherapy—for example, that ideas, thoughts, and feelings are caused by previous experiences, that passions may be studied dispassionately, that understanding leads to transcendence—and I wished to celebrate his contributions through a novel of ideas.”

Baruch Spinoza (1632–1677) Dutch philosopher

Irvin D. Yalom, in his novel The Spinoza Problem, prologue. (New York: Basic Books, 2012)
S - Z

Study , Understanding , Passion , Idea

“The attention that literary artists have lavished on Spinoza is remarkable. Writers have not only shaped their aesthetics by reflection on Spinoza, have not only inserted his views into the inner lives and dialogues of their characters, but have molded the man himself into a protagonist in their novels, poems, and plays. This last aspect of the literary fascination with Spinoza is particularly noteworthy. The person of Benedictus Spinoza has drawn, over the centuries, unusual attention, and not only from literary writers.”

Baruch Spinoza (1632–1677) Dutch philosopher

Rebecca Goldstein, in her article 'Literary Spinoza,'. In: The Oxford Handbook of Spinoza, edited by Michael Della Rocca (Oxford: Oxford University Press, 2017)
G - L

Personality

“To correct the tribe of our younger poets we shall soon require the aid of a physician, not of a critic. Their history may be told in a few words. A young man educated, or rather mis-educated, without experience, without study, without any definite tendency, without the power of exertion, or of tasting any genuine enjoyment, becomes conscious of his miserable oscillation between existence and non-existence —between not having lived and not being about to live—between a barren past and a barren future. He now takes to novel reading, frequents the theatres, compares himself to heroes or poets, and makes verses. All on a sudden the thought flashes across his mind that his unhappy condition is connected with the unfilled profundity of his feelings—with an unsatisfied yearning of the soul. He rushes headlong into the ocean of melancholy, and indulges in expressions with which the poetic springs of latter years have inundated us; he bathes in these waters, and contemplates his own image reflected from their surface.”

Ernst, Baron von Feuchtersleben (1806–1849) Austrian psychiatrist, poet and philosopher

Source: The Dietetics of the Soul; Or, True Mental Discipline (1838), pp. 136-137

Soul , Study , Reading , History

“It is indeed strange that Indian critics should react to this novel so puritanically, forgetting the fact that a masterpiece of erotics i. e. Kama Sutra was produced by Vatsayana in the ancient days in India. Like all semi or fully pornographic novels, The Company of Women is widely sold, secret and publicly condemned.”

Vātsyāyana Indian logician

Source: Literary Vision, p. 127

Forgetting , Secret , Women

“Naguib Mahfouz, an Egyptian novelist who was the first Arabic writer to receive the Nobel Prize for literature and who was often considered the greatest writer in the Arab world… lived his entire life in Cairo, which provided the inspiration and backdrop for almost all of his writing… He set most of his works in the ancient Islamic quarter of Cairo, with its mosques and serpentine alleys teeming with shopkeepers, metalsmiths, government workers, peasants, prostitutes and thieves. His vibrant novels portraying life at every level of society were often likened to those of such other writers of urban social realism as Charles Dickens, Honore de Balzac and Emile Zola.”

Naguib Mahfouz (1911–2006) Egyptian writer

Matt Schudel " Leading Arab Novelist Gave Streets a Voice http://www.washingtonpost.com/wp-dyn/content/article/2006/08/30/AR2006083000475.html" in: Washington Post, August 31, 2006

World , Life , Literature

“Mervyn Peake is a finer poet than Edgar Allan Poe, and he is therefore able to maintain his world of fantasy brilliantly through three novels. It (Gormenghast trilogy) is a very, very great work … a classic of our age.”

Mervyn Peake (1911–1968) English writer, artist, poet and illustrator

Robertson Davies

World , Age

“Quotes from the Riverworld series of novels and stories, about nearly all of humanity finding themselves resurrected on an alien world, for such reasons or purposes as remains unclear.”

Philip José Farmer (1918–2009) American science fiction writer

The Riverworld series

World , Quotes

“It would have been impossible for me to have told anyone what I derived from these novels, for it was nothing less than a sense of life itself. All my life had shaped me for the realism, the naturalism of the modern novel, and I could not read enough of them.”

Richard Wright book Black Boy

Black Boy (1945)

Sense , Life , Reading , Nature

“Reading was like a drug, a dope. The novels created moods in which I lived for days. But I could not conquer my sense of guilt, my feeling that the white men around me knew that I was changing, that I had begun to regard them differently.”

Richard Wright book Black Boy

Black Boy (1945)

Reading , Sense , Change , Feeling

“Co-written with John Byrum based on the novel by W. Somerset Maugham.”

Bill Murray (1950) American actor and comedian

The Razor's Edge (1984)

“Most works in realism tell a succession of such abject truths; they are deeply in earnest, every detail is true, and yet the whole finally tumbles to the ground — true but without significance. How did Jane Austen save her novels from that danger? They appear to be compact of abject truth. Their events are excruciatingly unimportant; and yet, with R. Crusoe, they will probably outlast all Fielding, Scott, George Elliot, Thackeray, and Dickens. The art is so consummate that the secret is hidden; peer at them as hard as one may; shake them; take them apart; one cannot see how it is done.”

Jane Austen (1775–1817) English novelist

Thornton Wilder, A preface for Our Town (1938)

Success , Art , Truth , Secret

“Miss Austen was surely a great novelist. What she did, she did perfectly. Her work, as far as it goes, is faultless. She wrote of the times in which she lived, of the class of people with which she associated, and in the language which was usual to her as an educated lady. Of romance, -- what we generally mean when we speak of romance -- she had no tinge. Heroes and heroines with wonderful adventures there are none in her novels. Of great criminals and hidden crimes she tells us nothing. But she places us in a circle of gentlemen and ladies, and charms us while she tells us with an unconscious accuracy how men should act to women, and women act to men. It is not that her people are all good; -- and, certainly, they are not all wise. The faults of some are the anvils on which the virtues of others are hammered till they are bright as steel. In the comedy of folly I know no novelist who has beaten her. The letters of Mr. Collins, a clergyman in Pride and Prejudice, would move laughter in a low-church archbishop.”

Jane Austen (1775–1817) English novelist

Anthony Trollope, Lecture (1870)

Time , People , Women , Education

“Every housemaid expects at least once a week as much excitement as would have lasted a Jane Austen heroine throughout a whole novel.”

Jane Austen (1775–1817) English novelist

Bertrand Russell, in The Conquest of Happiness (1930), Ch. 4: Boredom and excitement

“Which brings us again, after this long way about, to Jane Austen and her novels, and that troublesome question about them. She was great and they were beautiful, because she and they were honest, and dealt with nature nearly a hundred years ago as realism deals with it to-day. Realism is nothing more and nothing less than the truthful treatment of material, and Jane Austen was the first and the last of the English novelists to treat material with entire truthfulness. Because she did this, she remains the most artistic of the English novelists, and alone worthy to be matched with the great Scandinavian and Slavic and Latin artists.”

Jane Austen (1775–1817) English novelist

William Dean Howells, Criticism and Fiction (1891), Chapter 15

Question , Beauty , Nature , Truth

“Many of the novels read in isolation can seem like lumber-rooms of ideas, cluttered and over-complex, as if attempting too much at once. Perhaps the fault lies in market circumstances and the terse Ace format for which Dick wrote. One could also argue that Dick's novels were a quarter the length they ought to have been to contain such complexity and richness. Even so, the marvellous, multi— levelled web of themes and concerns which emerges from this process of condensation gives Dick's work its specific feel, the very thing that makes it unique. Unrevised, eccentric and extravagant — even so, it's not too much to claim that Dick is perhaps the first real genius to have worked in the science-fictional mode since the days of Stapledon, a hybrid of Dickens and Dostoevsky, possessed of the comic delights and tragic depths of both, yet choosing work where his eccentricities were cherished. In any case, like so many SF writers, he learned to love the genre through the magazines long before his literary tastes were formed. He never quite recovered from that first infatuation with the forbidden van Vogtian delights.”

Philip K. Dick (1928–1982) American author

Брайан Олдисс, «Кутёж на триллион лет»

Science , Reading , Learning , Idea

“When we talked about Danish novels, it was as if we had in mind a vague impression of Dostoyevsky and those other story-tellers who appear to have spilled a great mass of tar which then, obeying only the laws of gravity, somehow oozes along formlessly into every crack and crevice.”

Halldór Laxness (1902–1998) Icelandic author

Brekkukotsannáll (The Fish Can Sing) (1957)

Appearance , Law

“…Ever since my first novel, people have had quite a snippy vibe about YA, and it’s almost like: ‘Do you think one day you’ll write a real book?’…”

Juno Dawson (1981) British youth fiction author

On how young adult fiction is viewed in “Juno Dawson on the darker side of fashion in Meat Market and why 'people have a snippy vibe about Young Adult fiction'” https://inews.co.uk/culture/books/juno-dawson-meat-market-interview-new-book-release-635361 in i Newsletter (2019 Aug 3)

Thinking , Books , People

“Momentum of the Wuhan virus epidemic outbreak may decline in 20 days (since 26 January 2020) based on the current prevention and control measures of pneumonia caused by the novel coronavirus.”

Wen Yumei (1934)

Wen Yumei (2020) cited in " Expert believes China's control measures on Wuhan virus will take effect in 20 days https://www.thestar.com.my/news/regional/2020/01/27/expert-believes-china039s-control-measures-on-wuhan-virus-will-take-effect-in-20-days" on The Star Online, 27 January 2020.

“I wanted to write a novel about the sandwich generation: parents falling to pieces at one end of your life and children being quite demanding at the other. You, the woman, are probably working full-time, but society, which is really very old-fashioned, still expects women to do all the caring.”

Joanna Trollope (1943) British writer

On her novel Mum & Dad in “Joanna Trollope on families, fiction and feminism: ‘Society still expects women to do all the caring’” https://www.theguardian.com/books/2020/mar/02/joanna-trollope-on-families-fiction-and-feminism-society-still-expects-women-to-do-all-the-caring in The Guardian (2020 Mar 2)

Time , Children , Parent , Fashion

“What I’m trying to do in all these novels is mirror a contemporary preoccupation. I’m not providing any solutions. I’m simply saying: ‘Can we please get the conversation going?’”

Joanna Trollope (1943) British writer

On being more of a social rather than political writer in “Joanna Trollope on families, fiction and feminism: ‘Society still expects women to do all the caring’” https://www.theguardian.com/books/2020/mar/02/joanna-trollope-on-families-fiction-and-feminism-society-still-expects-women-to-do-all-the-caring in The Guardian (2020 Mar 2)

“My novels are what is known as popular and sell very well, but I am not a critic’s favourite, indeed I am generally dismissed with a sneer as a bestseller and not reviewed at all.”

Daphne du Maurier (1907–1989) British writer

On how her novels are typically received by critics (as quoted in “Why Daphne du Maurier was Britain’s mistress of suspense” http://www.bbc.com/culture/story/20170609-why-daphne-du-maurier-was-britains-mistress-of-suspense in The Guardian; 2017 Jun 13)

“For me it's always been the visitation of characters. Since I was very young l've thought there is a natural creative spirit, a very romantic spirit, that we have within. That spirit seeks expression. It exists in those of us who want to be writers, or think that we are going to be writers; who want to write poetry, to write stories, to jump into novels. But that spirit, that energy, has to be channeled. I think a great deal of channeling for me has to do with the very strong characters that come to me and demand that their stories be told.”

Rudolfo Anaya (1937) Novelist, poet

On his writing inspiration in “Interview with Rudolfo Anaya” https://ebuah.uah.es/dspace/bitstream/handle/10017/4986/Interview%20with%20Rudolfo%20Anaya.pdf?sequence=1&isAllowed=y (CARMEN FLYS JUNQUERA, Universidad de Alcalá de Henares)

Strong , Thinking , Nature

“Unlike novels or movies, video games are an interactive medium where the player's actions drive the story forward, so I had actually wanted to allow players to manipulate the evidence themeselves earlier on in the series.”

Shu Takumi (1971) video game developer

Game

“…I have discovered that plays are easier to write than novels if the writer has a certain verbal facility, a certain capacity for the colloquial, an ear for the secret cadences of the spoken word. A play can be written with more ease than a novel…”

Luis Rafael Sánchez (1936) Puerto Rican playwright and novelist

On plays versus novels in “Luis Rafael Sánchez: Counterpoints" https://ufdc.ufl.edu/UF00096005/00024/14j (Sargasso, 1984)

Secret

“…there should be an absolute identification between the individual's experience and the writer's so that [experience] serves as the starting point for being able to write a short story or a novel later on…”

Rosario Ferré (1938–2016) Puerto Rican writer

On not wanting to be deemed a woman author (as quoted in “ROSARIO FERRE: THE VANGUARD OF PUERTO RICAN FEMINIST LITERATURE” http://smjegupr.net/wp-content/uploads/2015/06/19.-Rosario-Ferr---The-Vanguard-of-Puerto-Rican-Feminist-Literature-por-Suzanne-S.-Hintz.pdf)

“…I think that poets can do anything. With a novel, we all know about plot and character and yes, there’s experimental and people can recognize that, but I think that there are rules. I don’t think of poetry that way…”

Terrance Hayes (1971) American poet

On poets having certain freedoms in “Interview with Terrance Hayes” http://katonahpoetry.com/interviews/interview-terrance-hayes/ in the Katonah Poetry Series (2017 Sep 21)

Way , Thinking , People

“Asia gave us dowry deaths and the caste system. Africa elevated famine to an art form. North America cultivated chattel slavery for far longer than I would have dared hope; South America has done things with political oppression that I am obliged to call brilliant; Australia showed the world that the only good aborigine is a dead aborigine; and Antarctica has fabulous weather. Of all the continents that constitute Earth’s terrain, however, Europe remains dearest to my heart and closest to my soul.
I allude here not to the sweatshops, the world wars, or totalitarian socialism (though none of these innovations has escaped my notice) but to the fact that the European imagination endowed me with a degree of glamour—you might even say charm—that in pre-coma times enabled me to function with extraordinary effectiveness. The concept of an Evil One is intrinsic to Islam, of course; the ancient Hebrews had their “adversary,” their satan; the Egyptians feared a dark deity called Set; Zoroastrians believed in Ahriman, essence of destruction (forever warring with Ohrmazd, source of all things bright and beautiful). But only in Christian Europe did the Prince of Hell acquire a personality as vivid and endearing as any you will meet in a Dickens novel.”

James K. Morrow (1947) (1947-) science fiction author

Source: Blameless in Abaddon (1996), Chapter 11 (p. 253; spoken by the Devil)

Soul , Hell , Imagination , Time

“This is something that the novel does better than any other art form: reproducing the inner life and the inner experience of another person, particularly extreme forms of consciousness like grief, dreams, drunkenness, spiritual revelations, even insanity. Unlike movies, where we’re always onlookers, in novels we have the experience of being someone else: knowing another person’s soul from the inside. No other art form does that. And I like dealing with particularly intense inner experiences because I think that in many ways, this is what the novel does best.”

Donna Tartt (1963) American writer

On what novels convey to Tartt in “Interview with Donna Tartt” https://medium.com/@Powells/interview-with-donna-tartt-8d86a2438b41 in Medium (2015 Jul 13)

Soul , Personality , Dreams , Art

“In the novel, the memory hole is a slot into which government officials deposit politically inconvenient documents and records to be destroyed."”

Rachel Maddow (1973) American journalist

2000s

Memory

“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."”

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

So I often reply to myself, and there rises before me my special nightmare—that of the writer as craftsman, natty and deft.
Letter 104, to Forrest Reid, 19 June 1912
Selected Letters (1983-1985)

“I do think that our perception of reality is fragmentary, and in 20th-century literature, it's totally normal to not describe reality as something whole and completely transportable and explicable. That's been accepted in novels. But genre films always pretend that reality is transportable, which means that it is explicable.”

Michael Haneke (1942) Austrian film director and screenwriter

Lawrence, Chua. "Michael Haneke" http://bombsite.com/issues/80/articles/2489, BOMB Magazine, Summer, 2002. Retrieved 29 July 2011.

Reality , Thinking , Literature

“I deeply deplore the oblivion into which public economy has fallen; the prevailing disposition to make a luxury of panics, which multitudes seem to enjoy as they would a sensational novel or a highly seasoned cookery; and the leaning of both parties to socialism, which I radically disapprove.”

William Ewart Gladstone (1809–1898) British Liberal politician and prime minister of the United Kingdom

Letter to the Duke of Argyll (30 September 1885), quoted in John Morley, The Life of William Ewart Gladstone, Volume III (1903), p. 221
1880s

Making love , Season

“In a history book, you can't imagine, you can't speculate, you can't conjure new worlds because that would ruin the history book. .... And in a novel you can't have too much fact-dumping, too much history, it just doesn't work, too much footnoting, again that ruins the story. So I love the fact that I can do speculation and imagination in one and go wild in a novel and then do proper, scrupulous research in the other. I think they compliment each other.”

Kate Williams (historian) (1974) British historian

https://www.bbc.co.uk/news/av/entertainment-arts-17945784
Meet the Author: Kate Williams
BBC
3 May 2012
2 May 2021

Thinking , Imagination , Books , History

“If only my hon. Friend would conduct the novel experiment of listening with his ears instead of his voice, a whole new world would open to him.”

Michael Foot (1913–2010) British politician

Speech https://hansard.parliament.uk/Commons/1979-11-26/debates/294bd8ba-7ace-4fab-9f9c-12be13ccb2ad/CommonsChamber#contribution-6ae9a2db-2e77-4e8d-8630-d90f5f7d8d0e in the House of Commons (26 November 1979)
1970s

World

“I imagined the structure of the novel like a braid. My job was to blend three strands evenly and neatly. Each piece of the braid represented one of the stories. The characters were very different but they had something in common: they were emotionally wounded by events of their past.”

Isabel Allende (1942) Chilean writer

On her work In the Midst of Winter in “INTERVIEWS: Isabel Allende” https://bookpage.com/interviews/21986-isabel-allende-fiction#.XajuoPlKjcs in BookPage (2017 Oct 31)

Imagination , Past

“We relate the poems and plays and novels we read and see, not to the men who wrote them, nor even directly to ourselves; we relate them to each other. Literature is a world that we try to build up and enter at the same time.”

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

The Educated Imagination (1963), Talk 3: Giants in Time

Time , Reading , Literature , World

“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.”

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

The Educated Imagination (1963), Talk 3: Giants in Time

Literature , World , Reading , Parting

“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.”

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

Art , Nature , Falseness , Life

“The truth is, the lives of activists are much more complicated than what the novel presented. My father was not a regular man nor a regular father. He gave himself to his cause, and our relationship was forged by distance. There is no resentment. The world needs people like my father.”

Ti-Anna Wang (1989) Chinese dissident

"Daughter of imprisoned Chinese activist inspires ‘Nine Days’ by Fred Hiatt, a book about their plight" in The Washington Post https://webcache.googleusercontent.com/search?q=cache:TAgbvFpO2-kJ:https://www.washingtonpost.com/lifestyle/style/daughter-of-imprisoned-chinese-activist-inspires-nine-days-by-fred-hiatt-a-book-about-their-plight/2013/04/05/67b339d0-9e03-11e2-a2db-efc5298a95e1_story.html+&cd=12&hl=en&ct=clnk&gl=us (5 April 2013)

People , Truth , World

“I don’t consider myself a successful screenwriter. I write screenplays because I have no choice. Often I’m simply the director’s last resort. I think that good novel-writing emphasizes characterization. It’s the personality that makes a good movie or novel character unforgettable.”

Geling Yan (1958) Chinese writer and screenwriter

Source: Interview with the Big Thrill

Personality , Success , Thinking

“It’s always challenging to portray foreign characters in a novel that is told mainly from a Chinese perspective or, you may say, in a Chinese story.”

Geling Yan (1958) Chinese writer and screenwriter

Source: "What War Does to Human Hearts: Interview with Geling Yan" http://www.chinaww2.com/2016/04/30/what-war-does-to-human-hearts-interview-with-geling-yan/ (30 April 2016)

“In all my novels… I deal with the many problems and prejudices which exist for Black people in Britain today.”

Buchi Emecheta (1944–2017) author

Source: On her major themes in “Interview with Buchi Emecheta” http://www.emeagwali.com/nigeria/biography/buchi-emecheta-voice-09jul96.html (Philip Emeagwali)

People , Problem

“I’ve always been very interested in the short story. Compared to the often exhausting world of the novel, the short story offers a quicker reward, and there’s something appealing about its greater spontaneity…”

Reinaldo Arenas (1943–1990) Cuban poet/novelist/playwright

Source: On his preference for short stories over novels in “The Literature of Uprootedness: An Interview with Reinaldo Arenas” https://www.newyorker.com/books/page-turner/the-literature-of-uprootedness-an-interview-with-reinaldo-arenas in The New Yorker (2013 Dec 5)

World

“Almost all our so-called "modern" is not yet new. It is merely novel by imitation or indirection; or pretense by imported picture.”

Frank Lloyd Wright (1867–1959) American architect (1867-1959)

A Testament (1957)

“Writing as a process of personal expression is an effort to provide meaning to life. Whether it is in the form of poetry which gives a touch of beauty to what we think or feel, or novels or stories as imaginative imitations of life. Whether it will succeed or fail, at least the writing will make us wiser in interpreting our own lives.”

Titon Rahmawan

Imagination , Personality , Beauty , Thinking

“Not a single sentence could move her heart. Not a story, a novel or even a poem. Even if she really had a heart, she could not love.”

Titon Rahmawan

Heart , Love

Quotes about novel page 8

Quotes about novel
page 8