A Quote by Jim Crace
I felt that, in some ways, my novels lacked heart because of the distance between me and the subject matter. But no one wants to read a book based on good health, a happy upbringing, a long marriage.
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In her previous novels, Maggie O'Farrell has often measured the distance between intimates and the unexpected intimacy of distance - geographic, temporal, cultural. In 'The Hand That First Held Mine' and 'The Distance Between Us,' characters separated by many miles or many years turn out to be joined in ways they never anticipated.
I've always felt that maybe one of the reasons that I did well as a student and made such good grades was because I lacked confidence. Lacked self-confidence, and I never felt that I was prepared to take an examination, and I had to study a little bit extra. So that sort of lack of confidence helped me, I think, to make a good record when I was a student.
I didn't fit into the Christian college my parents sent me to. I felt tarnished by tragedy, between my brother's death and Escuela Caribe, and everyone else seemed so carefree and happy and praising God. I couldn't stand happy people for a long time, and was plagued by chronic migraines and stomach aches. I'd say between age thirteen and twenty-three was the most miserable time of my life. I wrote Jesus Land because I wanted there to be a record of David's life. I was surprised that so many people read it, and felt moved by it.
A great story poorly told doesn't do anybody any good at all, and nobody wants to hear it, and nobody wants to read it. The craft of it is really more important than the subject matter.
'If You Could Read My Mind' was written during the collapse of my marriage. It's a great song. No one has any gripes about it. I wondered what my wife and daughter might think. My daughter is the one who got me to correct 'The feelings that you lacked' to 'The feelings that we lacked'.
There is a great deal of difference between an eager man who wants to read a book and the tired man who wants a book to read.
I opposed the Fatwa against Salman Rushdie. I read the book and took a critical distance. I did not think The Satanic Verses is a blasphemous book. I did not consider the book as being a great read, but as an intellectual I read, I assess, and I respond. I make a difference between true freedom of expression to which we owe a response and provocation, which we ignore.
When I write a book I write the best that I can and so much of that for me is following the book's demands, the subject's requirements - I love books, I always have. They have always been one of the places where I have felt very happy in the world. When I was younger, I loved to read genre fiction - I loved the magic-carpet ride of story! Now I need other things - I need the beautiful particular and strange language and form which brings a writer's book to life in me and speaks to my intellect, and, dare I say it, to my soul.
Many people have told me that my books read like novels. Perhaps this is because, when I write, I feel I am really there, so strong is my feeling for my subject. On occasion, I have been so moved by the events I have been describing that I have felt like crying.
As is said about most writers, on the one hand, all I ever did from when I was a child was read, and I was a loner, which was furthered by my parents and my upbringing. On the other hand, the more I read, the more I felt this well-known fissure between me and the world.
Polar' is based on the first and a little bit on the second book and all the characters from those novels are in there. The story is based on the graphic novel, but when it came to the execution of the film I felt I couldn't really make a movie without any dialogue.
The distinctions of what makes a book one genre or another can sometimes be a bit muddy, but generally it's a matter of projecting who the audience will be, which is a judgment that's based on the subject matter. 'Mainstream' is the cleanest label for a book that draws readers of both sexes and from a wide age-range.
If I was being very honest about it, probably more honest than I should be, '28 Days Later' was a reaction to 'The Beach' in some ways because I felt it lacked a kind of aggression in it.
We read novels. We read hundreds of pages of words, when the story is good because we're willing to stay there. I hope the story is good. I'm going into this venture thinking that the audience is really smart and really wants to hear all the nuances of what we're saying.
Books are good but they are only maps. Reading a book by direction of a man I read that so many inches of rain fell during the year. Then he told me to take the book and squeeze it between my hands. I did so and not a drop of water came from it. It was the idea only that the book conveyed. So we can get good from books, from the temple, from the church, from anything, so long as it leads us onward and upward.
I read Claire Messud's 'The Emperor's Children,' I read Joseph O'Neill's 'Netherland' - but to me, they're not 9/11 novels. In 'The Emperor's Children,' 9/11 felt to me like a piece of the plot; the novel wasn't wrestling with what 9/11 meant. And 'Netherland' felt the same way. I liked both books a lot but I don't see them as 9/11 novels.
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