A Quote by Ben Dolnick

I would love to love Saul Bellow, but by page fifty of 'Herzog', something within me has wandered into another room. — © Ben Dolnick
I would love to love Saul Bellow, but by page fifty of 'Herzog', something within me has wandered into another room.
DeLillo has said that he no longer feels a compulsion to write long, compendious books. In his later years, Saul Bellow said something similar. DeLillo, of course, has written very long in the past, notably with the 850-page Underworld (1997), and his story has been America.
The reason Saul Bellow doesn't talk to me anymore is because he knows his new novels are not worth reading.
On working with director Werner Herzog: I have to shoot without any breaks. I yell at Herzog and hit him. I have to fight for every sequence. I wish Herzog would catch the plague.
I lived around the corner from Saul Bellow.
Saul Bellow never took my advice when he was my friend.
I've always believed that poetry must speak of realities as least as complicated as those spoken of in prose. I've read books of poems, even single poems, which are, for me, at least the equivalent of a short story or a novel. Martin Amis, in an interview with Saul Bellow in the early eighties, quotes Bellow asking, "Why not address 'the mysterious circumstance of being', say what it's like to be alive at this time, on this planet?" This has been and still is my ambition.
You might learn as much about how to write by reading Shakespeare, Tolstoy, Wallace Stevens, Raymond Chandler, Saul Bellow, Paul Muldoon or a hundred other good novelists or poets than by seeing another round of John Ford revivals.
When people say, "I've told you fifty times," They mean to scold, and very often do; When poets say, "I've written fifty rhymes," They make you dread that they'll recite them too; In gangs of fifty, thieves commit their crimes; At fifty love for love is rare, 't is true, but then, no doubt, it equally as true is, a good deal may be bought for fifty Louis.
The writing is what gives me the joy, especially editing myself for the page, and getting something ready to show to the editors, and then to have a first draft and get it back and work to fix it, I love reworking, I love editing, love love love revision, revision, revision, revision.
At one point I would read nothing that was not by the great American Jews - Saul Bellow, Philip Roth - which had a disastrous effect of making me think I needed to write the next great Jewish American novel. As a ginger-haired child in the West of Ireland, that didn't work out very well, as you can imagine.
There's no vocabulary For love within a family, love that's lived in But not looked at, love within the light of which All else is seen, the love within which All other love finds speech. This love is silent.
Throughout my career I've struggled to encourage people to read my books on a more metaphorical level. I'm less attached to my settings than, for example, Saul Bellow. The setting of a novel for me is just a part of the technique. I choose it at the end.
I like Hemingway and I like a lot Jewish writers (such as) Saul Bellow.
When you look upon another human being and feel great love toward them, or when you contemplate beauty in nature and something within you responds deeply to it, close your eyes for a moment and feel the essence of that love or that beauty within you, inseparable from who you are, your true nature. The outer form is a temporary reflection of what you are within, in your essence. That is why love and beauty can never leave you, although all outer forms will.
I never thought anyone would come up to me and say, 'I like 'Better Call Saul' better than 'Breaking Bad.'' If you had asked me before we started, 'Would that bother you if someone said that?' First of all, I would have said, 'That's never gonna happen. And yeah, it probably would bother me.' It doesn't bother me a bit. It tickles me. I love it.
I love my editor, but that would be the definition of hell to me to live with someone and have them go page by page through my manuscript. That I want to avoid at all costs.
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