A Quote by Mason Cooley

The novel avoids the sublime and seeks out the interesting. — © Mason Cooley
The novel avoids the sublime and seeks out the interesting.
The true self seeks release, not constraint. It doesn't want to be corseted in a sonnet or made to learn a system of musical notations. It wants liberation, which is why very often it fastens on the novel, for the novel seems spacious, undefined, free.
The true self seeks release, not constraint. It doesnt want to be corseted in a sonnet or made to learn a system of musical notations. It wants liberation, which is why very often it fastens on the novel, for the novel seems spacious, undefined, free.
What interests me in [Lincoln in the Bardo] is a slight perverse balance between the sublime and the grotesque. Like you could have landed only on the sublime. But my argument is that the sublime couldn't exist without this other half.
I have always argued, in a good novel, interesting things happen to interesting people.
I keep thinking of Robert Stone making the distinction between the word sublime and the word beautiful. He described being in a battle as sublime. Because even though people were dying, it was such a huge sensory experience that it became sublime.
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.
I think Melbourne is by far and away the most interesting place in Australia, and I thought if I ever wrote a novel or crime novel of any kind, I had to set it here.
A revolution is interesting insofar as it avoids like the plague the plague it promised to heal.
The novel ceases to be looked at as a novel. Such is the overwhelming power of motion pictures. Gore Vidal pointed out that the movies are the only thing anybody's really interested in. The association with movies and movie money can, and certainly did in my case, occlude a novel as a novel.
To write a novel may be pure pleasure. To live a novel presents certain difficulties. As for reading a novel, I do my best to get out of it.
For the past 10 years I have had the interesting experience of observing the development of Parkinson's syndrome on myself. As a matter of fact, this condition does not come under my special medical interests or I would have had it solved long ago. … The condition has its compensations: one is not yanked from interesting work to go to the jungles of Burma ... one avoids all kinds of deadly committee meetings, etc.
What makes literature interesting is that it does not survive its translation. The characters in a novel are made out of the sentences. That's what their substance is.
Well, you could almost say, I suppose, that the scientist seeks what is similar between any two days, or bluebirds, or glaciers. And the poet seeks what is different. The artist seeks to celebrate the unique.
An army may be likened to water, for just as flowing water avoids the heights and hastens to the lowlands, so an army avoids strength and strikes weakness.
The middle way is a view of life that avoids the extreme of misguided grasping born of believing there is something we can find, or buy, or cling to that will not change. And it avoids the despair and nihilism born from the mistaken belief that nothing matters, that all is meaningless.
Remember that a good football novel has to have the same ingredients as any other good novel: drama, convincing and interesting characters, a strong story-line, and some kind of magic in the writing.
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