A Quote by Anthony Trollope
There is no happiness in love, except at the end of an English novel.
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The end of secrecy would be the end of the novel - especially the English novel. The English novel requires social secrecy, personal secrecy.
I love the novel of 'The English Patient'; I think it's a profoundly beautiful novel. I love the movie of 'The English Patient'; I think it's a profoundly beautiful movie. And they're totally different. You accept each on its own terms, and that's kind of the ideal.
In Italian, the word for novel is romanzo, "the romance." The English is "novel" - something new. Both of those elements, experimentation and love, are fundamental to the form.
When I came to Hollywood, I spoke no English - except nobody bullied me. Every day, I had nothing to do except training in English, to keep talking.
I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.
It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.
English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.
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.
Sometimes we love with nothing more than hope. Sometimes we cry with everything except tears. In the end that’s all there is: love and its duty, sorrow and its truth. In the end that’s all we have - to hold on tight until the dawn
Truly in the heart there is a void that can not be removed except with the company of Allah. And in it there is a sadness that can not be removed except with the happiness of knowing Allah and being true to Him. And in it there is an emptiness that can not be filled except with love for Him and by turning to Him and always remembering Him. And if a person were given all of the world and what is in it, it would not fill this emptiness.
It's the pursuit of love and happiness that is the driving force of the romantic novel.
You could imagine a language exactly like English except it doesn't have connectives like 'and' that allow you to make longer expressions. An infant learning truncated English would have no idea about this: They would just pick it up as they would standard English.
The English tradition offers the great tapestry novel, where you have the emotional aspect of a detective's personal life, the circumstances of the crime and, most important, the atmosphere of the English countryside that functions as another character.
Oh! And they read English novels! David! Did you ever look into an English novel? Well, do not trouble yourself. It is nothing but a lot of nonsense about girls with fanciful names getting married.
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.
I believe that when I die I shall rot, and nothing of my ego will survive. I am not young, and I love life. But I should scorn to shiver with terror at the thought of annihilation. Happiness is nonetheless true happiness because it must come to an end, nor do thought and love lose their value because they are not everlasting.
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