A Quote by John Barth

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. — © John Barth
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.
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.
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.
Many novelists say, "I'm not a political novelist" - myself included. That's a standard, even a default position. Whereas that divide between art and politics simply isn't possible in many countries. In Hungary, you couldn't be a fiction writer and then, when asked about politics, put your hands up in the air and say "But I'm not a political novelist." If you're a Chinese novelist, a novelist in a country where censorship is such an issue, how do you claim that politics has nothing to do with your writing? It's in your writing, it's shaping your words.
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.
I am the luckiest novelist in the world. I was a first-time novelist who wasn't awash in rejection slips, whose manuscript didn't disappear in slush piles. I have had a wonderful time.
Only a great genius like the Victorian novelist Elizabeth Gaskell can be mother, wife and novelist without solitude. I couldn't write until my youngest child went to school, and then I began - the first morning - and I've never stopped.
The thing I love about being a novelist is that with each project, you invent a new world. You approach it with a different set of aesthetic and structural ideas, and you grapple with a different series of problems in figuring out how to tell the story. And yet there are certain concerns that stay constant.
The bad novelist constructs his characters; he directs them and makes them speak. The true novelist listens to them and watches them act; he hears their voices even before he knows them.
In terms of style, I think the memoirist should have a novelist's skill and all the elements of a novelist's toolbox. When I read a memoir, I want to really, deeply experience what the author experienced. I want to see the characters and hear the way they speak and understand how they think. And so in that way, writing a memoir feels similar to writing a novel.
I realized that my identity as a novelist was private. Only I knew how much of a novelist I was!
I like to think of myself as an unmediated novelist - or perhaps a national novelist.
Naturally a direct comparison of terrorist and novelist is complete nonsense. But there was once a time when the novelist also had some influence on how his contemporaries thought, the way they saw the world, the way they lived.
They can't yank a novelist like they can a pitcher. A novelist has to go the full nine, even if it kills him.
Charlie Huston, who showran the first season [of Powers], is a novelist, and likes to internalize fiction as a novelist does.
I resist when someone calls me a novelist: it implies some kind of inherent superiority of the novel. I'm not a novelist, I'm a writer.
I always wanted to be a writer, and I did want to be a novelist. In college I took a couple of classes that taught me I would never be a novelist. I discovered I had no imagination. My short stories were always thinly veiled memoir.
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