A Quote by Oliver Harris

It started out as a typically insane idea to map every part of the published text in terms of its manuscript provenance and history, and to establish the cultural meaning of the book, part and whole.
What if there was a library which held every book? Not every book on sale, or every important book, or even every book in English, but simply every book - a key part of our planet's cultural legacy.
Provenance is something very important in jewelry. You want to know who has worn a piece of jewelry and who it has belonged to - it's part of its history, part of its aura.
We have a text before us, an ancient text, a living text, and we try to enter it, not only to decipher it, but to penetrate it, to become part of it, similar to the way every student becomes part of a teacher's texture. That's how I see our [with Frank Moore Cross] two differing approaches.
I had to keep the text pretty spare compared to what I would typically do in a picture book. My picture books have a lot of little jokes and asides that aren't necessarily part of the main story.
I love the trilogy form. I like the idea that you can establish a character in book one. And then in the second part, you can take the characters down to their darkest point. And then in the third part, you have total freedom either to give them redemption - or just to kill them.
After I work with my editor to get the manuscript in good shape, I sketch and lay out a whole book loosely, usually in black and white. You learn things about your text when you have to think about pacing and page-turns.
Pick up any history book, and I suggest you begin with studying the 20th century, and you will find that a large part of the history of our species has all the characteristics we would normally associate with a nightmare or an insane hallucination.
Of All the Gin Joints is one part cinematic history, one part old Hollywood weirdness, and one part handy basic bar guide, with a dash of romance and more than a few wry twists. Bailey and Hemingway prove themselves very entertaining cultural mixologists.
A manuscript not submitted is a book not published.
Which is the healthier kind of literary diversity: an un-gate-kept self-published book world, run substantially through Amazon? Or our current book world, which is part-gate-kept, part-not, with many different publishers and retailers and platforms? I'm not smart enough to figure it out, but if I had to guess I'd guess the latter.
You need a good editor because every writer thinks he can write a War and Peace, but by the time he gets it on paper, it's not War and Peace anymore; it's comic-book stuff. Your manuscript is both good and original. But the part that is good is not original, and the part that is original is not good.
All storytelling is kind of that - there's a bit of text that you put pressure on that spits out some desire that a character has and then you follow that. The other part is that every scene raises an expectation in the reader's mind - that's part of its job is to make you look in and be curious.
I got brilliant stories from people who'd never set foot in an MFA program and had published very little, and terrible stories from people who'd published a lot and had all the credentials. It was all over the map and that was part of the fun.
Part of any book is establishing the rules at the end of the world. My first book, 'The Intuitionist,' takes place in an alternative world where elevator inspectors are important, so you have to establish rules, and part of that is, How do people talk? How do they behave?
To me, all the juice of a book is in an unpublished manuscript, and the published book is like a dead tree - just good for cutting up and building your house with.
The whole process of getting a book published is just part of the process. The last of the process that I enjo
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