A Quote by Martin Amis

When success happens to an English writer, he acquires a new typewriter. When success happens to an American writer, he acquires a new life. — © Martin Amis
When success happens to an English writer, he acquires a new typewriter. When success happens to an American writer, he acquires a new life.
I don't think the isolation of the American writer is a tradition; it's more that, geographically, he just is isolated, unless he happens to live in New York City. But I don't suppose there's a small town around the country that doesn't have a writer.
A mirror does not develop because an historical pageant passes in front of it. It only develops when it gets a fresh coat of quicksilver in other words, when it acquires new sensitiveness; and the novel's success lies in its own sensitiveness, not in the success of its subject matter.
I think I'm an American writer writing about Latin America, and I'm a Latin American writer who happens to write in English.
Each truth that a writer acquires is a lantern, which he turns full on what facts and thoughts lay already in his mind, and behold, all the mats and rubbish which had littered his garret become precious. Every trivial fact in his private biography becomes an illustration of this new principle, revisits the day, and delights all men by its piquancy and new charm.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
The soul that acquires the virtue of forgiveness won't find any more trouble. No matter what happens, he will know how to run his life.
Writer's block is real. It happens. Some days you sit down at the old typewriter, put your fingers on the keys, and nothing pops into your head. Blanko. Nada. El nothingissimo. What you do when this happens is what separates you from the one-of-thesedays- I'm-gonna-write-a-book crowd.
This [service to oppressed] is the writer's task, and, if he fulfills it as he should, he acquires no merit from it.
I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
It seems to me that you are better off, as a writer and as an American, in a small town than you'd be in New York. I thoroughly detest New York, though I have to go there very often.... Have you ever noticed that no American writer of any consequence lives in Manhattan? Dreiser tried it (after many years in the Bronx), but finally moved to California.
I kind of want to be seen as an American writer, not just a New York writer.
Success isn't something that just happens - success is learned, success is practiced and then it is shared.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer.
I'm an immigrant writer, or an African writer, or an Ethiopian-American writer, and occasionally an American writer according to the whims and needs of my interpreters.
For most human beings, if what they want happens, it is a success. If what they could not have imagined happens, it is luck. If what nobody could foresee happens, it is a miraculous existence.
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