A Quote by Jeanette Winterson
The Anglo-American tradition is much more linear than the European tradition. If you think about writers like Borges, Calvino, Perec or Marquez, they're not bound in the same sort of way. They don't come out of the classic 19th-century novel, which is where all the problems start. 19th-century novels are fabulous and we should all read them, but we shouldn't write them.
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When they talk about family values, it's in a repressive way, as if our American tradition were only the Puritan tradition or the 19th century oppressive tradition. The Christian tradition.
I was really interested in 20th century communalism and alternative communities, the boom of communes in the 60s and 70s. That led me back to the 19th century. I was shocked to find what I would describe as far more utopian ideas in the 19th century than in the 20th century. Not only were the ideas so extreme, but surprising people were adopting them.
I was in school for literature, and read so many 19th century and early 20th century novels that it was hard to break out of that and read an average Jeanette Winterson book or something.
Its highest point was The Worst Journey in the World. Then you see this decline, and this harking back, using the 19th-century form when we're not in the 19th century. That way of writing a book about the world out there - you just can't do it anymore.
There's the tradition of the 19th-century ballets, and the 20th century has had a difficult time with that tradition. And it's had a difficult time with many components of the Romantic imagination because of modernism.
The democratic ideal has always been related to a moderate level of inequality. I think one big reason why electoral democracy flourished in 19th century America better than 19th century Europe is because you had more equal distribution of wealth in America.
There is not one particular moment that can account for the shift from the social issue concerns of 19th-century evangelicals into the state of American evangelicalism today. Some historical moments are telling. The rise of biblical criticism in the 19th century forced evangelicals to make choices about what they believed about the gospel.
I always read the Latin American writers. I love so many of them: Gabriel García Márquez, José Donoso, Alejo Carpentier, Jorge Luis Borges, Clarice Lispector. I also love a lot of American experimental writers and surrealist European writers. But perhaps The Persian Book of Kings was the greatest influence - I encourage people to look at it. There is such a wealth of incredible stories.
I think every age has a medium that talks to it more eloquently than the others. In the 19th century it was symphonic music and the novel. For various technical and artistic reasons, film became that eloquent medium for the 20th century.
As an artist, my wheelhouse is 19th-century literature. I want to write realist novels in a Victorian sense, and the writers I admire in that style tend to do omniscient narration.
Now, as Mandelbrot points out, ... Nature has played a joke on the mathematicians. The 19th-century mathematicians may not have been lacking in imagination, but Nature was not. The same pathological structures that the mathematicians invented to break loose from 19th-century naturalism turn out to be inherent in familiar objects all around us.
The writer I feel the most affinity with - you said you felt my books are 19th century novels, I think they're 18th century novels - is Fielding, Henry Fielding, he's the guy who does it for me.
Because of my politics, people think I'm anti-American. But I was quite the reverse. What I don't like about the United States is when the government acts like an old, imperial 18th- or 19th-century European power.
We've got in the habit of not really understanding how freedom was in the 19th century, the idea of government of the people in the 19th century. America commits itself to that in theory.
The 19th century was a century of empires, the 20th century was a century of nation states. The 21st century will be a century of cities.
Take any writer you want in the 19th century: they wrote with quill pens, dipping a piece of goose feather in ink and writing. And yet we read those novels today, and if we're sensitive to them, we respond to them with an immediacy that is stronger than anything written today on a word processor.
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