A Quote by Garth Nix

I think I've actually benefited from Australia being a kind of combination of both British and American culture. We kind of got the best of both British and American television and books, science fiction and fantasy, and so on. So I'm familiar with a lot of, for example, American books and television that a British author of my generation might not be.
The British and American literary worlds operate in an odd kind of symbiosis: our critics think our contemporary novelists are not the stuff of greatness whereas certain contemporary Americans indubitably are. Their critics often advance the exact opposite: British fiction is cool, American naff.
In the late 1930s, both the British and American movie industries made a succession of films celebrating the decency of the British Empire in order to challenge the threatening tide of Nazism and fascism and also to provide employment for actors from Los Angeles's British colony. The best two were Hollywood's Gunga Din and Britain's The Four Feathers...
Evidently, there are many great American writers. But sometimes it can feel as though American fiction is dominated by relatively linear narrative form, with a heavy emphasis on psychological realism. If you limit yourself to a certain kind of American literary fiction, it's easy to forget about the different kinds of books that are being written. You can forget to be ambitious, both as a reader and a writer.
I think Hellblazer is quite unique. In a comic world dominated by American characters (nothing wrong with that per se) Constantine was unashamedly British. A certain kind of miserablist British
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.
America has had an influence on me, as has going out with a Cuban-American guy and having lots of American friends. But I am still fundamentally British and speak with a British accent and feel very English.
I watch a lot of British television so people like Olivia Coleman, Sheridan Smith and Jodie Comer continue to inspire me with their versatility and story telling in British television.
I have no idea what a British sensibility or a British sense of humor is. I have no concept of what that is. I have no concept of what American sensibility is. I was born in Great Britain, but I was only there for six months, and we moved to Belgium, where I grew up. I love Britain, I lived there for nine years doing shows and things, but I don't know what a British sensibility is. I'd like to have someone tell me what an American sensibility is.
American culture is kind of an international culture, isn't it? British culture is a bit more unique. I think funny things are sort of funny around the world, really.
I love books; my suitcases are always full of them. Books and shoes. I read when I am sad, when I am happy, when I am nervous. My favourite British author is Jane Austen, and my favourite American one is John O'Hara.
I like the differences between American and British television dramas.
Because in Australia we're so inundated with American culture, television, this that and the other, everyone in Australia can do an American accent. It's just second nature.
The most foreign fighters in Iraq are wearing British and American uniforms. The level of self-delusion is bordering frankly on the racist. The vast majority of the people of Iraq are against the occupation of Iraq by the American and British forces.
One of the things which separates British and American culture is the reverence for the flag in American culture.
We talk about the American way, the British way. If we had any sense, we would know that there is no American way, no British way. There is only one way - the scientific way that cuts across racial lines with international boundaries.
The North American intellectual tradition began, I maintain, in the encounter of British Romanticism with assertive, pragmatic North American English - the Protestant plain style in both the U.S. and Canada, with its no-nonsense Scottish immigrants.
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