A Quote by Jonathan Safran Foer

Succotash my Balzac, dipshiitake. — © Jonathan Safran Foer
Succotash my Balzac, dipshiitake.
Succotash my cocker spaniel, you fudging crevasse-hole dipshiitake!
It is scarcely exaggeration to say that if one is not a little mad about Balzac at twenty, one will never live; and if at forty one can still take Rastignac and Lucien de Rubempre at Balzac's own estimate, one has lived in vain.
Balzac, you know, our great Balzac, he wrote interesting things about how in literature you keep distance in order to express great feelings. You have to keep a distance - and it's exactly the same with acting.
The only street I like is Rue Honore de Balzac, because 'Balzac' sound so gay, and I love my gays. I might like Parisians more if they named their streets only for gay icons, like Rue Liza Minnelli or Rue Bette Midler or, my favorite, Rue McClanahan.
My film is actually very critical of the level of French we're using back home. To have an immigrant from an ancient French colony come and do that is a little critical of our education system back home. Balzac is definitely over their heads. It's meant to be funny also because it would be also probably too much for kids in France, but kids in France would know who Balzac is. But, back home at that age, I guarantee you they don't know who he is.
I have learned more [from Balzac] than from all the professional historians, economists, and statisticians put together.
Balzac loved courtesans. They were independent women, and in the 19th century, that was a breed that was just evolving.
I've read probably 25 or 30 books by Balzac, all of Tolstoy - the novels and letters - and all of Dickens. I learned my craft from these guys.
Balzac's ambition was to be omnipotent. He would be Michelangelesque, and that by sheer force of minuteness. He exaggerated scientifically, and made things gigantic by a microscopic fulness of detail.
I'm interested in everything. I don't see why Borges can't work along with Neil Gaiman, or Stephen King can't be mixed with Balzac. It's just storytelling; it's different ways of using codes and images and words and sounds.
Thackeray and Balzac will make it possible for our descendants to live over again the England and France of to-day. Seen in this light, the novelist has a higher office than merely and amuse his contemporaries.
Translators who choose to work on canonized writers can usually lean on an extensive critical apparatus around either the author or the book in question, especially in the case of writers like [Honore] Balzac and [Emil] Zola.
I'm not quite Honoré de Balzac, but I can't start without a strong espresso. After an hour and a half or so, I need another. Nothing else, mind, and certainly not alcohol. Can't imagine anything more ridiculous than drink-writing.
Money is the necessity that frees us from necessity. Of all novelists in any country, Trollope best understands the role of money. Compared with him even Balzac is a romantic.
Twitter reminds me of an era in French literature - Emile Zola and Honoré de Balzac - and the beginning of modernity and gossip. They had these fashion magazines of the time on display with all of the Emile Zola references.
I agree with Balzac and 19th-century writers, black and white, who say, 'I write for money.' Yes, I think everybody should be paid handsomely; I insist on it, and I pay people who work for me, or with me, handsomely.
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