A Quote by Irvine Welsh

I'm not really a mainstream novelist! — © Irvine Welsh
I'm not really a mainstream novelist!
Mainstream's never appealed to me, really. I mean, I've become popular over the years in certain areas. But mainstream, you know, I would rather the mainstream come to me.
If you are a novelist of a certain type of temperament, then what you really want to do is re-invent the world. God wasn't too bad a novelist, except he was a Realist.
If you are a novelist of a certain type of termperament, then what you really want to do is re-invent the world. God wasn't too bad a novelist except he was a Realist.
Horror writers can write about everything in the real world that a mainstream novelist can--plus the supernatural, which is the most fertile field for metaphor imaginable.
Sigmund Freud was a novelist with a scientific background. He just didn't know he was a novelist. All those damn psychiatrists after him, they didn't know he was a novelist either.
I mean, maybe I'm alternative in that my stuff's not mainstream, doesn't want to be mainstream, could never be mainstream.
Poetry is not mainstream, but then neither is serious fiction, really. But I don't think there's a lot to worry about in this particular 'problem'. Why does art have to be mainstream to be significant?
I mean, when we did 'Families At War,' on Saturday night prime time, people said we were mainstream then. But it wasn't in the least mainstream. The fact that we got that on BBC1 at that time with those ridiculous things, that's as mainstream as we get. We do what we do and people can think that it's mainstream or avant-garde.
Sometimes, you just have to realize, I'm not doing stuff that is really mainstream stuff, and to try and put it out in a mainstream way is almost psychotic.
What I've become good at is bringing things that aren't necessarily mainstream to the mainstream. What I did see on Twitter was a potential for mass publication; it's a mainstream consumer broadcasting device. It transforms customers and companies. You have to be transparent or you fail.
Basically, it's somebody who got stuck having to interview me who really wants to be a novelist, so they're writing these novellas and I was like, "It's not true, that didn't happen, they just made all that up! Why don't they just go ahead and be a novelist instead of bothering with interviewing me?"
I guess, when I left university, I liked the idea of being a writer, and I thought then that being a writer really meant that you were a novelist. But if one of the impulses for being a novelist is wanting to be a storyteller, I never had any urge to tell stories.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
Bob Dylan wasn't a big star early on; it was the release of his Greatest Hits album in 1967, and the mainstream success of the stoner anthem "Rainy Day Women #12 & 35" ("Everybody must get stoned!"), that really put him on the mainstream map.
I realized that my identity as a novelist was private. Only I knew how much of a novelist I was!
I was on television a couple of years ago and the reporter asked me, "How does it feel being on mainstream media? It's not often poets get on mainstream media." I said, "Well I think you're the dominant media, the dominant culture, but you're not the mainstream media. The mainstream media is still the high culture of intellectuals: writers, readers, editors, librarians, professors, artists, art critics, poets, novelists, and people who think. They are the mainstream culture, even though you may be the dominant culture."
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