A Quote by Jules de Goncourt
History is a novel which did take place; a novel is history that could take place.
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I suppose drama can either take the place of a novel or can be very closely allied with it. It's quite customary to turn a successful novel into a film or a television series because you can dramatize and pictorialize a novel.
The novel since its origins has been the privatization of history... the history of private life ... and in that sense every novel is an historical novel.
The philosophy of individualism owes a great deal to the tradition of novel-writing and novel-reading. In its development and in its aesthetics, the novel is not politically neutral; it has been a participant in history all along.
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.
History is a novel that has been lived, a novel is history that could have been.
The field of the novel is very rich. If you're a composer, you're well aware of the history of composition, and you are trying to make your music part of that history. You're not ahistorical. In the same way, I think, if you write now, you are writing in the historical context of what the novel has been and what possibilities it has revealed.
In 1965, when I was fourteen, I read my first adult novel; it was a historical novel about Katherine of Aragon, and I could not put it down. When I finished it, I had to find out the true facts behind the story and if people really carried on like that in those days. So I began to read proper history books, and found that they did!
If you look back at history, [Dale ] Carnegie highlighted the need for libraries to be a place where everyone could go to read if you didn't have access to books. Philanthropy can be a place that'll take a risk or point to areas to make sure they are the right government investments to reduce inequalities.
A novel which has been too much worked over often goes flat, and no amount of laborious revision can take the place of careful planning beforehand.
The interface of history and myth is where my stories take place anyway, and there's always a way I'm trying to tap mythologies with the perfect understanding that history will trump mythology.
'War and Peace' holds a strange place in literary history, participating in the crowning of realism as a substantial and serious literary mode in America, even as the novel also contributed to the argument that historical fiction could be by nature dangerous, illegitimate, and inaccurate.
I do think digital media encourages speed-reading, which can be fine if one is simply seeking information. But a serious novel or work of history or volume of poetry is an experience one should savor, take time over.
Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place.
In a way, I think that the movie Fight Club [1999] did a weird, negative thing to boxing, culturally. I mean, it is sort of similar to what has happened to the novel. For however many good novels are written, the novel itself has completely lost its place.
The complete encounter with the Lord will mark an end to history, but it will take place in history.
As a young man, I was very interested in how people lived in earlier times; how they got from place to place, lighted their homes, cooked their meals and so on. So I went to the history books. Well, I could find out all about kings and presidents; but I could learn nothing of their everyday lives. So I decided that history is bunk.
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