A Quote by Jonathan Coe
I like the idea of a big caesura between the narratives, a space which readers can fill in with their own speculative history.
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I like the idea of a book being a democratic space which readers enter, carrying their own thoughts, and participate in a conversation, or experience of grace.
The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.
Narratives have the same power, I think. Some readers of my novels ask me, "Why do you understand me?". That's a huge pleasure of mine because it means that readers and I can make our narratives relative.
I had always spoken about the space between the art object and the person looking at it as this dynamic space, which I referred to over and over. So the idea of the space between two things was sort of interesting to me.
First of all, directing is an idea that you have of a total flow of images that are going on, which are incidentally actors, words, and objects in space. It's an idea you have of yourself, like the idea you have of your own personality which finds its best representation in the world in terms of specific flows of imaginary images. That's what directing is.
Sooner or later, I hate to break it to you, you're gonna die, so how do you fill in the space between here and there? It's yours. Seize your space.
Space can vibrate, space can fluctuate, space can be quantum mechanical, but what the devil is it? And, you know, everybody has their own idea about what it is, but there's no coherent final consensus on why there is space.
We've been surrounded by images of space our whole lives, from the speculative images of science fiction to the inspirational visions of artists to the increasingly beautiful pictures made possible by complex technologies. But whilst we have an overwhelmingly vivid visual understanding of space, we have no sense of what space sounds like.
Among the letters my readers write me, there is a certain category which is continuously growing, and which I see as a symptom of the increasing intellectualization of the relationship between readers and literature.
I don't write non-fiction because I get bored. Some of my writing is autobiographical, but not the way readers imagine. I use my memory of settings, events and people. I weave history into my stories, but my narratives are made up.
I think circumstance plays a big part in terms of what I do. For example, if I wasn't ever able to show in an art gallery I probably wouldn't really make very much sculpture. But I've had the opportunity to show in big spaces, so I want to fill up that space in the same way you might want to fill up a page.
I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.
When friendship disappears then there is a space left open to that awful loneliness of the outside world which is like the cold space between the planets. It is an air in which men perish utterly.
I've always kind of thought that reviews written by readers for readers are a kind of private space between consumers. It's their right to say anything they like about your material, and authors need to know that and respect that. As for my end, I'm aware of what my sales are, so I know that my books are working in the marketplace, at least for now, and beyond that, I have to just do my thing and stay focused.
Believing in fate has probably always arisen in part because of the delights and terrors of storytelling. We have to realize--to learn--that in life we are not the readers but the authors of our own narratives.
I have always wanted to make a series of films which would be like an 'emotional history' that conveys what it feels like to live through history as an experience rather than a grand story. It would be about the relationship between the tiny fragments and moments of personal experience, and the continual backdrop of big events.
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