A Quote by Madison Smartt Bell

I had been an abject fan of Robert Stone since the early eighties, when I borrowed a copy of 'A Flag for Sunrise' to read on a plane to Rome. I was twenty-something, with a first novel under my belt.
My family went to Toronto to visit relatives when I was 13 or 14. It was the first time we had ever been abroad. This was the early Eighties, and I remember the impossible glamour of air travel - my mum spending days trying to decide what she was going to wear on the plane.
We buy a copy of 'Gravity's Rainbow,' say, and we carry our copy home. We open it; we fall into it. And it is here that the word 'copy' fails. Because what I experience when I read 'Gravity's Rainbow,' or 'Beloved,' or 'The Moviegoer,' is not at all a 'copy' of what you experience when you read the same novel.
Thus again the Netherlands, for the first time since the fall of Rome, were united under one crown imperial. They had already been once united, in their slavery to Rome.
Since the building of Constantinople, and the removal of the seat of government to that city, no political quarrel separated Rome from Egypt. Pagan Rome, ever since the union of the two countries under Augustus, except when interrupted by the rebellions, had been eagerly copying the superstitions of Egypt, and Christian Rome still followed the same course.
I stick to playing Brahms, but I love listening to Led Zeppelin, and I've also been a big fan of Earth Wind and Fire since the Seventies and of The Gap Band since the Eighties.
I've been a Robert Randolph fan forever, since 2001. I just thought he was so cool; you don't see a black kid playing the slide the way he plays. No one plays like Robert.
I've been a big fan of Joe Hill ever since his first novel, 'Heart-Shaped Box.'
I've been a fan of Bunji's freestyling since the first time I saw him perform, back in the early 2000s.
How is the newcomer to deal with Rome? What is one to make of this marble rubble, this milk of wolves, this blood of Caesars, this sunrise of Renaissance, this baroquery of blown stone, this warm hive of Italians, this antipasto of civilization?
[Trey Parker and Matt Stone]called me one Saturday morning and said, "Can you do an impression of Conan O'Brien?" And I said, "I don't know." Because that was really... He hadn't been on the air that long, and to be honest, I hadn't watched much of him at that point. So I went to Santa Monica to their studio and said, "Well, what does he sound like?" They said, "Well, just try it one time. Read the copy." And I read the copy one time, and they went, "Okay, that's fine. Thanks a lot, that'll do. That's perfect."
Even though I've been an avid consumer of contemporary music since my early teens, the world of rock music has always been at something of a distance - I listen to it, read about it, I talk about it, but I've had little or no contact with its denizens.
My first novel, 'Housekeeping,' was accepted by the first agent who read it, and bought by the first editor who read it. In general, my experience with publication has been gentle and gratifying.
And you can tell the writers who do it - Robert Stone, for example, who with each new novel is doing something new. I appreciate that in other writers.
Waiting for the Electricity is a wildly original and ambitious debut, a novel that tackles cultural clashes with satirical hilarity. I haven't read a first novel this promising since The Confederacy of Dunces.
America has been the country of my fond election from the age of thirteen, when I first saw it. I had the honour to hoist with my own hands the flag of freedom, the first time it was displayed, on the Delaware; and I have attended it with veneration ever since on the ocean.
I had been an abject fan of Martin and Lewis when I was a kid. I just thought they were terribly funny. None of their movies captured the kind of chemistry they really had.
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