A Quote by Danielle Trussoni
The most obvious difference between writing novels and memoirs is that my memoirs are true stories, and explore certain experiences I've lived, and thus operate within the boundaries of memory and fact.
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Lately I've been thinking about the idea that all novels are, at least in some way, about the process of writing a novel - that the construction of the book and the lineage of people constructing novels are always part of the story the author is telling. I think the equivalent for memoir should be that all memoirs are, in some way, about the process of memory. Memoirs are made out of a confusing, flawed act of creation.
Although I still think of myself as an actress, most of my time is spent writing novels or memoirs about my adventures and travels.
Men's memoirs are about answers; women's memoirs are about questions. Most male authors want to look good in their memoirs and have a place in posterity, while most women know that posterity is what happens when you no longer care. Women want to connect with others here and now; they couldn't care less about legacy!
Most memoirs about alcoholism, promiscuity, and addiction are deep, sobering tales full of scars that will never heal and include alarming statistics and reflection about recovery.This is not one of those memoirs.
But who has time to write memoirs? I’m still living my memoirs.
Language can still be an adventure if we remember that words can make a kind of melody. In novels, news stories, memoirs and even to-the-point memos, music is as important as meaning. In fact, music can drive home the meaning of words.
We are all looking for something of extraordinary importance whose nature we have forgotten; I am writing the memoirs of a man who has lost his memory.
Novels–and memoirs–are perhaps the most comprehensive reports humans can deliver, of their private experiences, to other humans. In these terms there is only one kind of novel: a human attempt to transfer or convey some part or version of their world of noumenon to another’s world of noumenon.
I do not repeat conversations that I can't remember. And it's something that irritates me a great deal, because I think most memoirs are false novels.
All of Wes Anderson's films are confections, memoirs created in cinematic snow globes, with the subtext that memory is the most extraordinary confection of all.
I'm interested in such things as the difference between how we perceive the world and what the world turns out to be. The difference is between the stories we tell others and the stories we tell ourselves. There is a wonderful Russian saying, which I use as the epigraph of one of my novels, which goes, He lies like an eyewitness. Which is very sly, clever and true.
My being Indian is possibly the biggest thing that influences my stories. Not just in terms of settings - most of the settings in my stories are Indian - but also in terms of characters and plot. I think growing up in India grew my imagination in certain ways that would not have happened in any other place. I'm also fascinated by the idea of India, and writing stories allows me to explore this. As for thematic elements, they are probably pretty obvious in my stories. I also hope that my stories bust stereotypes at least to a modest extent.
Writing short stories was kind of like I was cheating the whole time, in some way. I went back and forth between writing the novels and sort of sneaking out to work on stories occasionally. These stories were written over the last 10 years or so, as I was taking breaks from the novels I've written.
It's easy to write one's memoirs when one has a terrible memory.
In the worst memoirs, you can feel the author justifying himself - forgiving himself - in every paragraph. In the best memoirs, the author is tougher on him- or herself than his or her readers will ever be.
Memoirs give the knowledge about the author and his environment. They are different from biography. Memoirs do not get ahead, and the man who writes a biography looks at his future like at a very simple thing.
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