A Quote by Paul Fry

Satire about any and all professionals with a special vocabulary has been a staple of fiction and popular ridicule since the 18th century. — © Paul Fry
Satire about any and all professionals with a special vocabulary has been a staple of fiction and popular ridicule since the 18th century.
I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.
There’s always been a need for horror fiction, though - ghost stories have been a staple of every human society since the beginning of recorded literature - and while commercially the field may have its ups and downs, it will never go away. Hell, look at the Bible: gods, devils, ghosts, witches, giants, resurrections. That’s one big horror story. And it’s the most popular book on the planet.
I love satire. Evelyn Waugh is one of my favorite writers of all time. He's hilarious. He's so wicked. He's so great. On the other hand, pure satire is an imitation. It doesn't really have any heart. It only holds things up to ridicule.
Charlie Hebdo: Satire was the father of true political freedom, born in the 18th century; the scourge of bigots and tyrants. Sing its praises.
In my mind, there's not a great difference between what people call fiction and non-fiction. So in that sense, I'm like an early-18th-century person. I actually believe there's one way of writing.
We don't have a clear path forward, and that's been the case for feminism since the 18th century, when the idea of the rights of women actually began.
One layer was certainly 17th century. The 18th century in him is obvious. There was the 19th century, and a large slice, of course, of the 20th century; and another, curious layer which may possibly have been the 21st.
I have argued about the future of fiction with jaded novelists, far-seeing postmodernists, technologists, television critics. The argument that future generations will not know the pleasures of the novel has been a staple of book reviewing since at least 1960.
If you go to old houses on Long Island you will see painted Chinese wallpaper, which was big in the 18th century. Throughout history, notable, established families have always tried to link to the 18th century.
What I have always liked about Brighton is its impersonality. Since the 18th century, people have come, used the place and gone home again.
Novels shouldn’t aspire to answer questions, and I wouldn’t presume to offer advice about love or marriage in any case. What’s fascinating to me about marriage as a subject for fiction—a subject that fiction has taken on with gusto since the 19th century—is how unknowable other people’s relationships are. Even the marriages of your parents, your siblings, your closest friends always remain something of a mystery. Only in fiction can you pretend to know people completely.
Look, science is hard, it has a reputation of being hard, and the facts are, it is hard, and that's the result of 400 years of science, right? I mean, in the 18th century, in the 18th century you could become an expert on any field of science in an afternoon by going to a library, if you could find the library, right?
Although the stories are very present in my book, and very present in my mind, what I was most interested in was the question of why it had attracted such a following in the 18th Century. It's less mysterious that it attracted a following in the Romantic period, and in the 19th Century, but the early 18th Century when the Rationalists fell in love with it...that was mysterious. What I wanted to look at was the forms of enchantment.
Since the 18th century, many Western intellectuals have predicted religion's imminent demise.
I had been very dismissive of popular fiction - in fact, I'd refused to read it. And then I started working on popular fiction, and I realised these books weren't the same as Hemingway, say, but they were good in a different way.
Since the revolution of the 18th century, America has basically had an ideology of liberal democracy and constitutionalism.
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