A Quote by Edith Pearlman

I lived around the corner from Saul Bellow. — © Edith Pearlman
I lived around the corner from Saul Bellow.
Saul Bellow never took my advice when he was my friend.
The reason Saul Bellow doesn't talk to me anymore is because he knows his new novels are not worth reading.
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.
That certain snobbery of certainly the Parisian - combined with a complete denial of your historical legacy, is just awful. That's a funny thing about France. Saul Bellow wrote somewhere that he saw right through the French. He lived there. He wrote The Adventures of Augie March in Paris, and there's no one better than him to say what's unbearable about the French.
I like Hemingway and I like a lot Jewish writers (such as) Saul Bellow.
I was 17 when I decided to write stories as big as cathedrals, overflowing with the kind of memorable and audacious characters Walker Percy, Ernest Hemingway and Saul Bellow created.
I would love to love Saul Bellow, but by page fifty of 'Herzog', something within me has wandered into another room.
Saul Bellow has that character in Henderson the Rain King say: "I want, I want, I want!"9 I remember reading this passage years ago and thinking, yes, that's the human.
Among contemporaries, I hugely admire Alice Munro, our Chekhov, Saul Bellow, Philip Roth, and John Updike, American masters all. I also believe that the voice of Gordon Lish is astoundingly original and sorrowful.
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.
You start Saul, and end up Paul,' my grandfather had often said. 'When you're a youngun, you Saul, but let life whup your head a bit and you starts to trying to be Paul - though you still Sauls around on the side.
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.
I had the idea in my twenties that a writer could immediately become the late Henry James. Henry James himself had to mature. Even Saul Bellow did.
In one of his puckish moods Saul talked the president of a university into letting him anonymously take an examination being administered to candidates for a doctorate in community organization. "Three of the questions were on the philosophy of and motivations of Saul Alinsky," writes Saul. "I answered two of them incorrectly."
The life of faith is lived one day at a time, and it has to be lived - not always looked forward to as though the "real" living were around the next corner. It is today for which we are responsible. God still owns tomorrow.
I think even great writers only write two books that you might like. When I think of my touchstone writers like Saul Bellow, I think of 'Henderson the Rain King.' With Don DeLillo, I think of 'Libra.'
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