A Quote by Jane Green

When I first started writing, I was living in England and I had that uniquely English sense of sarcasm, which has definitely seemed to have left me. I am a naturalized American and my sensibility has become far more American.
I was a supporting character in other people's lives, which seemed right and familiar to me. I was also an outsider: English in the U.S., American in England, dogged yet comforted by that familiar feeling of alien-ness, which occupied that space where my sense of self should have been.
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.
Whereas Absurdism in Europe seemed a logical, almost inevitable response to the irrationality of war, the analogous elements that surfaced in American drama seemed more a response to a materialist society run amok. The American-style Absurdism seemed to spring full-blown out of television advertisements and situation comedies, which had become new myth-making machines.
Actually, until a few years ago, my English was very poor. I wasn't thinking of my American roots at all, until I went to play in an American youth team. From that moment, my English improved, and I started to feel more American.
Well, English is no problem for me because I am actually English. My whole family are English; I was brought up listening to various forms of the English accent. Obviously there are more specific ones that get a little bit tricky. Same with American stuff. But 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.
I was born in Australia and am proud of my Australian provenance, but I am now an American. Like so many naturalized citizens, I felt that I was an American before I formally became one.
All my early books are written as if I were Indian. In England, I had started writing as if I were English; now I write as if I were American. You take other people's backgrounds and characters; Keats called it negative capability.
All my early books are written as if I were Indian. In England, I had started writing as if I were English; now I write as if I were American. You take other peoples backgrounds and characters; Keats called it negative capability.
I think that as far as language goes I'm an American, I'm afraid, my accent is American, my way of talk is an American way of talk, I'm an old-fashioned American. That's probably one of the reasons why I'm in England now and why I'll always stay in England.
A French observer is surprised to hear how often an English or an American lawyer quotes the opinions of others, and how little he alludes to his own; ... This abnegation of his own opinion, and this implicit deference to the opinion of his forefathers, which are common to the English and American lawyer, this servitude of thought which he is obliged to profess, necessarily give him more timid habits and more conservative inclinations in England and America than in France.
I want to say unequivocally that while I cherish every person who comes from anywhere, who comes here legally and seeks to pursue happiness, and I hope all of them decide to stay and become American citizens, but I want them to become American. And part of becoming American involved English. It is vital historically to assert and establish that English is the common language at the heart of our civilization.
I think English punk died in '79 or '80. Maybe '82 at the latest. As far as American punk goes, it wasn't the same as English punk. It wasn't a working-class movement that was protesting the conditions under which this class had to work. I don't think American punk ever died.
I learned English from watching American movies and American series. And you'd watch the movie the first time and not understand anything. Then you'd watch it again, and you'd start understanding more and more, and that's how I learned English.
By the late '50s, something was happening in England, and it got to be quite exciting. The music world then started to explode with the Beatles and the Rolling Stones. It was an incredible time with this mixture of independence in art, fashion, and the explosion of the pop sensibility. London was certainly at the center of it all for a few years. And as far as art is concerned, I think that sensibility of what was later called Pop art started in England even before America. And so I was lucky to be there.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
I can hardly believe that I even know this, but I am aware that Noah Webster's original dictionary, apart from being the first truly American lexicography, was a kind of line in the sand. It claimed a very discrete, American form of the English language, explicitly to compare it to the English of our erstwhile colonial masters who had been operating under Dr. Johnson's dictionary rules for well over a century.
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