A Quote by Claire Messud

I grew up on British fiction, and I write perhaps more directly out of that tradition. — © Claire Messud
I grew up on British fiction, and I write perhaps more directly out of that tradition.
For a while, when I got out of college, I tried to write fiction. I'd grown up more around novelists, and my initial attraction was to write fiction. But I was much less suited for it. I always struggled to figure out what people were saying or doing in a particular moment.
Sometimes I write songs that just come out in a pop format because I grew up on melody and these amazing artists during the 80s. It's my tradition and it's something that I can't really control.
When I was a kid, I figured I would be a physicist when I grew up, and then I would write science fiction on the side. The physicist thing didn't pan out, but writing science fiction on the side did.
I find fantasy easier to write. If I'm going to write science fiction, I spend a lot more time thinking up justifications. I can write fantasy without thinking as much. I like to balance things out: a certain amount of fantasy and a certain amount of science fiction.
I grew up in a very British family who had been transplanted to Canada, and my grandmother's house was filled with English books. I was a very early reader, so I was really brought up being surrounded with piles of British books and British newspapers, British magazines. I developed a really great love of England.
I find a difference in British spy fiction and American spy fiction. In the American version, it's more militaristic, partly because the CIA has more of the military makeup. Whereas MI6 is more of a cerebral, intelligence-based, relationship-based service, i.e., all they do is recruit people to get information out of them.
As a fan of science fiction and as a kid who loves monsters, science fiction movies and this, that and the other, there's no real way to make a career out of that. Especially when I grew up.
I don't write thinking directly about what I'm feeling, usually. I just let myself write whatever comes out without it necessarily being directly a translation of what I'm aware that I'm feeling, you know?
A petty reason perhaps why novelists more and more try to keep a distance from journalists is that novelists are trying to write the truth and journalists are trying to write fiction.
I'm from East Berlin. I grew up in the Bertold Brecht, Kurt Weil tradition, also in the old hippie tradition.
In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.
I remember reading an interview with a writer who said that in nonfiction if you have one lie it sort of messes it up. But in fiction the real details give you so much more credibility, because people do so much research just to write fiction. In fiction you're trying to recreate something lifelike.
That was par for the course but I also found that commissions were being canceled and in fact I considered this directly libelous - I write biographies for a living as well as being a journalist - for a non fiction book to be called fiction from beginning to end.
I grew up in a tradition where having ideas and contributing to the community and creating art that had an impact on the world mattered. That's part of the Jewish tradition.
London exists normally in a state of bleach bypass. There's the artistic context of "Blow Up" and "Performance" and all the Sixties and Seventies British films that I grew up on, because I did very much grow up on British films.
Fiction and non-fiction are only different techniques of story telling. For reasons I do not fully understand, fiction dances out of me. Non-fiction is wrenched out by the aching, broken world I wake up to every morning.
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