A Quote by Andrew Pyper

Perhaps because my town was so naturally gothic in its architecture and relative isolation - the roads often closed in winter - my stories tended toward the ghostly and the creepily suspenseful right from the get-go.
Gothic architecture requires individual craftsmanship. The wish to create an enclosed world for the congregation gives rise in Gothic architecture to the need to create something wherein the activity of the congregation plays a part.
Winter does adversely affect [the roads] and our roads have been let go, so they're more and more porous. We're going to have to put more and more emphasis on permanent patch and maintenance, so I expect a great deal of roads breaking up in the spring.
When you start writing, you have your characters on a metaphorical paved road, and as they go down it, all these other roads become available that they can go down. And a lot of writers have roadblocks in front of those roads: they won’t allow their characters to go down those roads... I’ve never put any roadblocks on any of these paths. My characters can go wherever they would naturally go, and I’ll follow them.
It is perhaps the principal admirableness of the Gothic schools of architecture, that they receive the results of the labour of inferior minds; and out of fragments full of imperfectionraise up a stately and unaccusable whole.
I loved fairy tales when I was a kid. Grimm. The grimmer the better. I loved gruesome gothic tales and, in that respect, I liked Bible stories, because to me they were very gothic.
Winter looked at Leven. Leven looked right back at her. Winter's cheeks burned red and her green eyes outshone Leven's. The two of them stared at one another and then, as if they were destined to, thay began to lean into one another, Leven closed his eyes. "What are you doing?" Geth asked concerned. Winter closed his eyes too and leaned close. Both of them looked panicked and out of control, but it didn't stop them from moving closer and kissing each other. Clover's jaw dropped and he pulled something out of his void just so he could let go of it in shock.
Eroticism, hallucinogenic drugs, nuclear science, Gaudi's Gothic architecture, my love of gold - there is a common denominator in all of it: God is present in everything. The same magic is at the heart of all things, and all roads lead to the same revelation: we are children of God, and the entire universe tends towards the perfection of mankind.
It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.
As the architecture of a country always follows the earliest structures, American architecture should be a refinement of the log-house. The Egyptian is so of the cavern and the mound; the Chinese, of the tent; the Gothic, of overarching trees; the Greek, of a cabin.
I am drawn to Americana, and I am drawn to gothic stories, and I love American gothic stories.
I'm a great candidate for why arts funding shouldn't be cut, because I had no experience other than what was at school, I'm from a working-class town, there were no theaters, and the cinema closed when I was a kid. Anything that gave me a voice or a way to express myself I went running headlong toward.
It's true that my stories seem to deal with the end of the world. I've often been called the high priest of gothic miserablism, which is slightly unfair.
I'm one of those writers who started off writing novels and came to writing short stories later, partly because I didn't have the right ideas, partly because I think that short stories are more difficult. I think learning to write short stories also made me attracted toward a paring down of the novel form.
I was going to be an architect. I graduated with a degree in architecture and I had a scholarship to go back to Princeton and get my Masters in architecture. I'd done theatricals in college, but I'd done them because it was fun.
A poem, as a manifestation of language and thus essentially dialogue, can be a message in a bottle, sent out in the –not always greatly hopeful-belief that somewhere and sometime it could wash up on land, on heartland perhaps. Poems in this sense too are under way: they are making toward something. Toward what? Toward something standing open, occupiable, perhaps toward an addressable Thou, toward an addressable reality.
We need prizes as publishers... to focus attention on books, for people to know what to go look for. But often in my opinion and in probably everyone's opinion, the right books don't get chosen. Still we need books to be chosen even if they are not exactly the right ones, otherwise many people won't know what to read. As a publisher, I feel prizes are important for the publishing business. But as a writer, I think, writers shouldn't get too distracted by prizes because very often they don't go to the right person. You shouldn't take it too seriously if you haven't won a prize.
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