It used to be that the highest ambition of American novelists was to write 'the Great American Novel,' that great white whale of American fiction that would encompass all the American experience in one great book.
The most popular American fiction seems to be about successful people who win, and good crime fiction typically does not explore that world. But honestly, if all crime fiction was quality fiction, it would be taken more seriously.
Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
We must face the bitter fact that we have forsaken our great dream of a life of, for, and by the people; that the burning passions and ideals of the American dream lie congealed by cold cynicism. Great parts of the masses of our people no longer believe that they have a voice or a hand in shaping the destiny of this nation. They have not forsaken democracy because of any desire or positive action of their own; they have been driven down into the depths of a great despair born of frustration, hopelessness, and apathy. A democracy lacking in popular participation dies of paralysis.
I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel you can get right inside somebody's head.
I try to keep that fire burning inside of me.
You know, the point of a novel - or to me, the point of a novel, the gift of a novel is to go really deeply inside people's lives and inside their personal experiences.
I too was frightened the first time I felt I hated my father. I felt like a criminal. But could I help it what was inside of me? I had to feel what I felt even if it killed me.
There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.
I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
So much history, if you or I were to write it, could seem a fiction. These separations, these lines that tell us this is fiction or non-fiction, that this is history or this is a novel, are often useless.
It seemed to me that I could write commercial fiction. I wasn't sure whether I could, or whether I wanted to write serious fiction at that point. So I said, 'Let me try something else,' and I wrote a mystery - but I didn't know much about it.
When I was young, I kept trying to read 'Moby-Dick', and I couldn't get that far into it. And I kept thinking, 'Well, man, if I can't read the great American novel, I could never be a writer.' And this bothered me a great deal.
I guess...on one hand, I spent way too much time watching science fiction and reading science fiction when I was growing up. But a part of it is I also never felt much of a connection to the world in which I lived while I was growing up, and so, oddly enough, I think I felt a lot more connected to the worlds that I read about in science fiction.
I always felt a little worm inside me: 'Now you need to write a novel with a woman protagonist.
I always felt a little worm inside me: 'Now you need to write a novel with a woman protagonist.'