A Quote by Alix Kates Shulman
Usually, ordinary histories don't get the emotional feel of a period. That's what a novel can do.
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I write about the period 1933-42, and I read books written during those years: books by foreign correspondents of the time, histories of the time written contemporaneously or just afterwards, autobiographies and biographies of people who were there, present-day histories of the period, and novels written during those times.
I feel very strongly influenced by long-form box-set TV drama... I feel really excited that, at last, the novel has found its on-screen equivalent, because the emotional arcs and changes that you can follow are just so much more like a novel, and so many amazing shows recently have done as much as film can do to show the interior world.
I don’t think there is any such thing as an ordinary mortal. Everybody has his own possibility of rapture in the experience of life. All he has to do is recognize it and then cultivate it and get going with it. I always feel uncomfortable when people speak about ordinary mortals because I’ve never met an ordinary man, woman, or child.
A novel, especially a first novel, is... really an emotional autobiography. All these emotions I'm embarrassed at having had, I've written about.
I'm an incredibly emotional person, but I always feel bad about that. The work is therapy... I need to emote wildly while I write. I weep. I'll laugh, get excited, and get up and pace. I try to take the emotional journey with the characters.
Even when you're producing difficult material and you get emotional, after it you feel good; you feel like you've done a good job, or had an emotional release. I've always enjoyed that, but you go home and think, that was a good day's work, and you move on.
The colonial period has been the proving ground in America for the new social history, which concentrates on the ordinary doings of ordinary people rather than on high culture and high politics. Unfortunately ordinary people, almost by definition, leave behind only faint traces of their existence.
What I bring to the interview is respect. The person recognizes that you respect them because you're listening. Because you're listening, they feel good about talking to you. When someone tells me a thing that happened, what do I feel inside? I want to get the story out. It's for the person who reads it to have the feeling . . . In most cases the person I encounter is not a celebrity; rather the ordinary person. "Ordinary" is a word I loathe. It has a patronizing air. I have come across ordinary people who have done extraordinary things. (p. 176)
A novel is a daily labor over a period of years. A novel is a job. But a story can be like a mad, lovely visitor, with whom you spend a rather exciting weekend.
You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.
I always was interested in prose. As a teenager, I published short stories. And I always wanted to write the long short story, I wanted to write a novel. Now that I have attained, shall I say, a respectable age, and have had experiences, I feel much more interested in prose, in the novel. I feel that in a novel, for example, you can get in toothbrushes and all the paraphernalia that one finds in dally life, and I find this more difficult in poetry.
Writing a novel is like knocking on a door that will never open. You are so desperate to get in, you will say or do anything. You feel: please take my novel.
As historians write more and more histories, it's a sort of self-fulfilling prophecy that other historians read their histories and then make synthesis, and certain things just get forgotten and left out and neglected.
I think a lot of us go through a period where we feel like outsiders, and deal with that by wishing we were insiders. So that was the emotional core of American Born Chinese.
I'm a big fan of Elmore Leonard, and I've read Ian Rankin, Christopher Brookmyre and so on. But I'd never read a crime novel that made me feel emotional at the end.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
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