A Quote by Angela Carter

It may be the first in what I trust will be a rapidly growing and influential genre--the novel designed on purpose to be excludedfrom the Booker short-list. — © Angela Carter
It may be the first in what I trust will be a rapidly growing and influential genre--the novel designed on purpose to be excludedfrom the Booker short-list.
'The Man in the High Castle' was not the first alternative history novel, nor even the first Nazis-win-the-war novel, but it is still probably the most influential book in the genre.
As one of a handful of religion professors in the U.S. who study, write, and teach about conservative Christianity and politics, I am all too aware of the real meaning of the list and of its purpose. Promoted by Turning Point USA, the list is not simply designed to expose professors who discriminate; it is designed to silence and smear.
[On being a judge for the 1986 Booker Prize:] I got to the point where I couldn't read a laundry list without considering it for the Booker Prize.
If I'm a genre writer, I'm at the edge. In the end, they do work like genre fiction. You have a hero, there's a love interest, there's always a chase, there's fighting of some kind. You don't have to do that in a novel. But you do in a genre novel.
As the list of abuses by federal agencies grows, Americans are rapidly losing trust in government.
And having thoughtlessly polluted our streams and rivers, we have seen in recent years a rapidly growing market for bottled drinking water. I am sure that some will say that a rapidly growing market for water is "good for the economy," and most of us are still affluent enough to pay the cost. Nevertheless, it is a considerable cost that we are now paying for drinkable water, which we once had in plentiful supply at little cost or none at all. And the increasing of the cost suggests that the time may come when the cost will be unaffordable.
The short story, free from the longuers of the novel is also exempt from the novel's conclusiveness--too often forced and false: it may thus more nearly than the novel approach aesthetic and moral truth.
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.
In a few hundred years, when the history of our time will be written from a long-term perspective, it is likely that the most important event historians will see is not technology, not the Internet, not e-commerce. It is an unprecedented change in the human condition. For the first time - literally - substantial and rapidly growing numbers of people have choices. For the first time, they will have to manage themselves. And society is totally unprepared for it.
If Pitt is on the short list, there's no reason that West Virginia shouldn't be on the Big 12 short list.
Transnational corporate networks, and their resulting spatial patterns, are always in a continuous state of flux. At any one time, some parts may be growing rapidly, others may be stagnating, others may be in steep decline.
A fiction which is designed to inculcate an object wholly alien to the imagination sins against the first law of art; and if a writer of fiction narrow his scope to particulars so positive as polemical controversy in matters ecclesiastical, political or moral, his work may or may not be an able treatise, but it must be a very poor novel.
One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.
The first time I read a crime novel - I think it may have been an Elmore Leonard book - it took some time for me to realise how the genre worked. There were about 20 characters on the first page, and I wasn't used to this. I started to enjoy it when I saw that was how crime books worked.
I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
I don't begin a novel with a shopping list - the novel becomes my shopping list as I write it.
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