Top 169 Quotes & Sayings by Aleksandar Hemon

I do have a sense of displacement as constant instability - the uninterrupted existence of everything that I love and care about is not guaranteed at all. I wait for catastrophes.

I like to blur the line between fact and fiction, but not to condescend to the reader by enmeshing her/him into some sort of a postmodern coop.

To me there's no difference between a book of stories and a novel - they're just slightly different shapes.

I've been a Nick Cave fan since the early '80s when he was part of The Birthday Party thing singing Australian self-destructive rock band and I've always followed his work and loved it.

I am a writer, which means I write stories, I write novels, and I would write poetry if I knew how to. I don't want to limit myself.

I tend to wait for true stories to mature into fiction. Most of my fiction grew out of a long-germinating real-life situation.

The trouble with calling a book a novel, well, it's not like I'm writing the same book all the time, but there is a continuity of my interests, so when I start writing a book, if I call it 'a novel,' it separates it from other books.

I cannot live or write without music. It stimulates the normally dormant parts of my brain that come in handy when constructing fiction.

I actually didn't listen to the Beatles song 'Nowhere Man' when I was writing my book of the same name. What I listened to a lot was 'Abbey Road.' Its disjointedness and its readiness to confuse only to delight were inspiring to me.

I did not intend to stay; I had no experience in the United States - I may have been here less than 24 hours - but I knew I would never get inside there. And 'there' not being America necessarily, but that harmonious mode of living that some people are lucky enough to have in this country.

For people who are displaced, you can reconstruct the story of your life from the objects you have access to, but if you don't have the objects then there are holes in your life. This is why people in Bosnia - if anyone was running back into a burning house, it was to salvage photos.

A particular piece of music attaches itself to the piece I'm writing, and there is nothing else I can listen to. Every day I return to the same space to write, the music providing both the walls and the pictures on the walls.

I long for, not a writer's retreat - I can write in any situation - but a reader's retreat.

I really don't feel that any of the pieces I wrote were confessions; there are no revelations about secrets in my life, and actually I have nothing to confess and I certainly do not ask for redemption and there is no reward for confessing that I expect.

When I found myself in the U.S., and the war was at full swing in Bosnia, I read for survival - it was a means of thought resuscitation.

I read everything I could find in English - Twain, Henry James, Hemingway, really everything. And then after a while I started writing shorter pieces in English, and one of them got published in a literary magazine and that's how it got started. After that, graduate school didn't seem very important.

I suppose I'm interested in sorrow, which is very different from depression or despair. Sorrow is continuous with the world; it allows for creativity.

I wish I could avoid the people who have threatened me. My favorite threat is that I will be thrown in the River Miljacka, which is at most knee-deep, with my feet bound in cement.

I have two homes, like someone who leaves their hometown and/or parents and then establishes a life elsewhere. They might say that they're going home when they return to see old friends or parents, but then they go home as well when they go to where they live now. Sarajevo is home, Chicago is home.

I don't make notes for myself because I either lose them or they make no sense to me at all. I once found a piece of paper with the note: 'everything.' Apparently I made a note to myself not to forget everything!

In Bosnian, there's no distinction in literature between fiction and nonfiction; there's no word describing that.

New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.

When we're upset, our vocal cords tighten and we can't speak. And when I lie - well, I can't lie, because the same thing happens - everyone who knows me knows that when I start squeaking, I've started lying.

The privilege of a middle-class, stable, bourgeois life is that you can pretend that you are not complicated and project yourself as a solid, uncomplicated person, with refined life goals and achievements.

I resist when someone calls me a novelist: it implies some kind of inherent superiority of the novel. I'm not a novelist, I'm a writer.

You are always working on your worst book and your best book at the same time. The praise does not make you write better, and it shouldn't make you write worse, either.

Memory narrativises itself.

I cannot stand that whole game of confession, that is: Here I have sinned, now I'm confessing my sins, and describing my path of sin and then in the act of confession I beg for your forgiveness and redemption.

Our daughter was born in Chicago, and she's already showing it. The temperature has to be approaching zero for her to wear a hat.

I'll take any life in which I can make choices and have agency, and America is not a bad place for all that.

When I came to America, I was already a writer, already published in Bosnia. I was planning to go back, but I had no choice but to stay here after the civil war, so I enrolled at Northwestern in a master's program and studied American literature.

The way I think of my work is that I have to think up the way to tell a story, starting from scratch. The changes in the industry concern me in a general way because I think civilization is doomed.

Literature is always something - it is either story or poetry, ideally both. That is, you always know what it is and even if the interpretation is not available, the experience of language is.

The beauty of literature - also its limit - is that it is inescapably personal, even if you're writing science fiction.

I write and read with the assumption that literature contains knowledge of human experience that is not available otherwise.

The perfect borscht is what life should be but never is.

My skin was the border between the world and me.

If you can't go home, there is nowhere to go, and nowhere is the biggest place in the world-indeed, nowhere is the world.

You devise ways to tell a story that complies with your sensibility. Style and method are really extensions of your present sensibility.

One builds one's life in consistency; one invests it with the belief, however unsupported by reality, that one has always been what one is now, that even in one's distant past one could recognize the seed from which this doomed flower has bloomed.

I believe people are much more complicated than they can handle.

When I look at my old pictures, all I can see is what I used to be but am no longer. I think: What I can see is what I am not.

I don't think that everyone should have a philosophical answer to any given question. There are things that need to be done.

I loved you because there was no other place for me to go. We were married because we did not know what else to do with each other. You never knew me, nothing about me, what died inside me, what lived invisibly.

Europe has never been a monolithic space, it contains a lot of people, a lot of languages and infinite supplies of history. I didn't need to do anything to showcase diversity. It is a condition of life and art in Europe, contained in every random sample.

Language is so inherent to humanity, so necessary for even basic thinking, that stories and poetry are available to anyone who can process language.

I much preferred winning to thinking and I didn't like losing at all.

The people who listened to rock 'n' roll, I thought, were bound together against the people who didn't listen to rock 'n' roll. That, of course, didn't work at all. Your taste in rock 'n' roll does not say anything about you, morally or otherwise.

I do have a sense of displacement as constant instability — the uninterrupted existence of everything that I love and care about is not guaranteed at all. I wait for catastrophes.

I don't believe in inspiration. I write when I can't avoid writing anymore.

I want a book to contain a world - indeed the world. Writing is my main means of engagement with the world and I want the scars of that engagement to be left in the language.

Belief and delusion are incestuous siblings.

I gradually became aware that my interiority was inseparable from my exteriority, that the geography of my city was the geography of my soul.

For a fight to be productive, or at least relevant, writers should fight over different demands they put upon writing (as an individual, private act) and literature (a network of relations in which we are all involved).

There are moments in life when it is all turned inside out--what is real becomes unreal, what is unreal becomes tangible, and all your levelheaded efforts to keep a tight ontological control are rendered silly and indulgent.

I'm not nervous if I think about something for nine years and then I don't write it. Even if it fades it doesn't concern me. It'll come back if it's worth it.

The funny thing is that in Bosnia there are no words that are equivalent to fiction and nonfiction. From the storytelling point of view, the difference is artificial.

Home is where somebody notices when you are no longer there.

I like the idea of a book being a democratic space which readers enter, carrying their own thoughts, and participate in a conversation, or experience of grace.

We knew - but didn't want to know - what was going to happen, the sky descending upon our heads like the shadow of a falling piano in a cartoon.