A Quote by Jonathan Coe
It seems to me that you would have to write a novel on a very small, intimate scale for it not to become political.
Related Quotes
It's disingenous for me to say that I wasn't trying to write a moral novel. By its very nature as a novel about the Iraq War, Fobbit steps into the political conversation. There's no way to avoid that. I can appreciate that readers are probably going to line up on one side of the novel or the other. I hope they go to those polar extremes, actually.
I had wanted to write 'The Possessed' as fiction, but everyone told me that no one would read a novel about graduate students. It seems almost uncivilized to tell someone writing a novel, 'No, you have to call this a memoir.'
I don't impose political responsibilities on my fiction. The last thing I would ever want to do, for example, is write a novel that would appear to want to tell people what to think about the immigration debate, and I would never write a novel whose sole ambition was to give a "positive" view of immigrants. I'm for open borders, by the way - down with the nation state!
I am preoccupied with the possibility of creating art which functions in a public situation without compromising its private character of being antiheroic, antimonumental, antiabstract, and antigeneral. The paradox is intensified by the use on a grand scale of small-scale subjects known from intimate situations--an approach which tends in turn to reduce the scale of the real landscape to imaginary dimensions.
It's such a risk to write a novel that it's easy to become conservative - you're spending what would be, for me, a couple of years of my life on a single idea. Which is maybe one of the reasons I write stories - if it doesn't work, you've only lost a month.
The Green Shore is an engrossing novel about political oppression, played out on an intimate family scale. Bakopoulos charts the subtle, gnawing pressures of life under the Greek junta - the steady drip of daily coercion - with an exacting empathy. In particular, her depiction of love under tyranny - by turns hesitant, furtive and liberating - is as astute as it is moving.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
This would be a distortion of their meaning, since the pictures are intimate and intense, and are the opposite of what is decorative; and have been painted in a scale of normal living rather than an institutional scale.
I would not describe myself as a political writer except in the sense that the personal is political, which is something that I do strongly believe. And in that sense American Gods is a very personal novel and a political novel. I was trying to describe the experience of coming to America as an immigrant, the experience of watching the way that America tends to eat other cultures.
Because I write fiction, I don't write autobiography, and to me they are very different things. The first-person narrative is a very intimate thing, but you are not addressing other people as 'I' - you are inhabiting that 'I.'
It has always seemed to me that if you could talk about your work in fully-formed phrases, you wouldn't write it. The writing is the statement, you see, and it seems to me that the poem or the story or the novel you write is the kind of metaphor you cast on life.
I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
'The Oath' seems like the perfect project for me, coming off the back of a big-scale adventure film like 'Everest.' I want to delve into an intimate, dark and psychological world where the characters are claustrophobic.
...there's no such thing as sustainability. There are just levels of it. It's a process, not a real goal. All you can do is work toward it. There's no such thing as any sustainable economy. The only thing I know that's even close to sustainable economic activity would be organic farming on a very small scale or hunting and gathering on a very small scale. And manufacturing, you end up with way more waste than you end up with finished product. It's totally unsustainable. It's just the way it is.
I knew I wanted the parties in 'The Queen of the Night' to be convincing, beautiful, and also dramatic: situations where significant things happened on a scale that was both grand and intimate. There were several texts that helped me think about how to do this, and one of the most important ones was Charlotte Bronte's novel 'Villette.'
I am fully intelligent only when I write. I have a certain amount of small-change intelligence, which I carry round with me as, at any rate in a town, one has to carry small money, for the needs of the day, the non-writing day. But it seems to me I seldom purely think ... if I thought more I might write less.
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