A Quote by Olga Tokarczuk
Reading English novels I always adore the ability to write without fear about inner psychological things that are so delicate.
Related Quotes
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
I had wanted to write English crime novels based on the American hard-boiled style, and for the first two novels about Brixton, the critics didn't actually know I was Irish.
I have read all my novels that were translated into English. Reading my novels is enjoyable because I forget almost all the content in them.
I've been thinking a lot about why it was so important to me to do The Idiot as a novel, and not a memoir. One reason is the great love of novels that I keep droning on about. I've always loved reading novels. I've wanted to write novels since I was little. I started my first novel when I was seven.I don't have the same connection to memoir or nonfiction or essays. Writing nonfiction makes me feel a little bit as if I'm producing a product I don't consume - it's a really alienating feeling.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
All my novels are rooted in their time and in their place. The place of my novels is Israel, almost without exception. Almost without exception, my novels are rooted in Israel because that's the place I know well. And, that's my gutsy advice to any young writer: write only about what you know well. Don't write about that which you don't know.
We are going from reading our genetic code to the ability to write it. That gives us the hypothetical ability to do things never contemplated before.
When I was young, there was no such thing as YA. You simply went from reading children's novels to reading adult novels. So one year, I was reading Tove Jansson, and the next year, I was reading Stephen King.
French novels generally treat of the relations of women to the world and to lovers, after marriage; consequently there is a great deal in French novels about adultery, about improper relations between the sexes, about many things which the English public would not allow.
The psychological condition of fear is divorced from any concrete and true immediate danger. It comes in many forms: unease, worry, anxiety, nervousness, tension, dread, phobia, and so on. This kind of psychological fear is always of something that might happen, not of something that is happening now.
I'm a British psychological illusionist, which is a term I made up, but I do these kind of mind-reading and psychological experiments. There's nothing magical about it at all.
I can always tell when I'm about to start writing. I go through cycles in reading. When I'm beginning to start to write something, I start reading what I think of as good literature. I read things with wonderful language.
One reason I've never been a fan of graphic novels is because a central aspect of literature for me has always been imagining what the things I'm reading about look like.
I can't imagine otherwise - I guess Virginia Woolf could write wonderful novels where the women never have sex, and her novels work. But for me, I don't think I could write a plot without sex happening somewhere.
I never got any training in how to write novels as an English major at Oberlin, but I got some great training for writing novels from anthropology and from Margaret Mead.
I've always had the wish, the nostalgia to be able to write detective novels. At heart, the principal themes of detective novels are close to the things that obsess me: disappearance, the problems of identity, amnesia, the return to an enigmatic past.
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