A Quote by Hanya Yanagihara

In novels, and American novels in particular, it's not just about redemption, it's about forward movement and healing oneself. Americans are very big on getting better.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
All middle-class novels are about the trials of three, all upper-class novels about mass fornication, all revolutionary novels about a bad man turned good by a tractor.
We don't tend to write about disease in fiction - not just teen novels but all American novels - because it doesn't fit in with our idea of the heroic romantic epic. There is room only for sacrifice, heroism, war, politics and family struggle.
I had wanted to write English crime novels based on the American hard-boiled style, and for the first two novels about Brixton, the critics didn't actually know I was Irish.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
We've had science fiction novels where China is dominant; we've had novels where India is dominant, and I suppose it's all about getting away from that cliched old tired idea that the future belongs to the West.
I find 'True Grit' to be one of the very best American novels: It is a rousing adventure story and deeply perceptive about the makeup of the American character.
It’s the ability to bring events and characters to a resolution that draws me to writing, especially writing for children. I don’t want to ever be didactic, but if there’s something I do want to say, it’s that you can bring things around. You can make a change. Adult novels are about letting go. Children’s novels are about getting a grip.
My major preoccupation is the question, 'What is reality ?' Many of my stories and novels deal with psychotic states or drug-induced states by which I can present the concept of a multiverse rather than a universe. Music and sociology are themes in my novels, also radical political trends; in particular I've written about fascism and my fear of it.
Strip away the morphing landscapes and rips in the space-time continuum, and my stories are about things that novels have always been about: love and sex and identity and memory and history and redemption.
Novels ought to have hope; at least, American novels ought to have hope. French novels don't need to. We mostly win wars, they lose them. Of course, they did hide more Jews than many other countries, and this is a form of winning.
I keep thinking I'll enjoy suspense novels, and sometimes I do. I've read about 20 Dick Francis novels.
French novels generally treat of the relations of women to the world and to lovers, after marriage; consequently there is a great deal in French novels about adultery, about improper relations between the sexes, about many things which the English public would not allow.
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