A Quote by Junot Diaz
There is a lot of scepticism today as to whether memoir is real. But when fiction is done at a certain level there is scepticism as to whether it is really fiction.
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Latter-day scepticism is fond of calling itself progressive; but scepticism is really reactionary. Scepticism goes back; it attempts to unsettle what has already been settled. Instead of trying to break up new fields with its plough, it simply tries to break up the plough.
I can be very snobby about fiction, especially contemporary fiction. I can be kind of overly demanding, I think. But this is, I think, a good time. A lot of fiction comes out right now. So, I like reading the memoir. I love memoir, the biography, auto bio.
There is no such thing as too ordinary to write about, whether that's life or a scene in a novel. What's interesting to people, whether it's memoir or fiction, is the truth.
This scepticism is the same scepticism I heard a generation ago in the USSR when few thought that a democratic transformation behind the iron curtain was possible.
Scepticism is a necessary and vital part of the journalist's toolkit. But when scepticism becomes cynicism it can close off thought and block the search for truth.
A fine memoir is to a fine novel as a well-wrought blanket is to a fancifully embroidered patchwork quilt. The memoir, a logical creation, dissects and dignifies reality. Fiction, wholly extravagant, magnifies it and gives it moral shape. Fiction has no practical purpose. Fiction, after all, is art.
I like to read really good books - anything that's really great, whether it's fiction, non-fiction, how-to, or whatever.
When I read any book, if it's really good I get lost in the writing whether it's fiction or non-fiction. I'm in the story not thinking about who wrote it.
I have always distrusted memoir. I tend to write my memoirs through my fiction. It's easier to get to the truth by not claiming that you are speaking it. Some things can be said in fiction that can never be said in memoir.
Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.
There is, indeed a more mitigated scepticism or academical philosophy, which may be both durable and useful, and which may, in part, be the result of this Pyrrhonism, or excessive scepticism, when its undistinguished doubts are corrected by common sense and reflection.
Discourses on humility are a source of pride in the vain and of humility in the humble. So those on scepticism cause believers to affirm. Few men speak humbly of humility, chastely of chastity, few doubtingly of scepticism.
I think the 'New York Times' reviews overall tend to overlook popular fiction, whether you're a man, woman, white, black, purple or pink. I think there are a lot of readers who would like to see reviews that belong in the range of commercial fiction rather than making the blanket assumption that all commercial fiction is unworthy.
It seemed to me that I could write commercial fiction. I wasn't sure whether I could, or whether I wanted to write serious fiction at that point. So I said, 'Let me try something else,' and I wrote a mystery - but I didn't know much about it.
Real stories - whether in pure fiction or historical - have a certain indefinable power; we are endlessly curious about the past and hungry for learning that we hope will illuminate the present.
Going from memoir to fiction was fantastic. I had been afraid to move away from memoir; I'd written some novel drafts, but they weren't well received by my agent at the time, and it had been drilled into me that "memoir outsells fiction two to one" (not sure if that's true anymore, or if it ever was), so I felt like the only smart thing to do, professionally, was to keep mining my life for painful moments to recapitulate.
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