A Quote by Rachel Cusk
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.
Related Quotes
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.
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.
The disappointing second novel is measured against the brilliant first novel - often no novel lives up to the first. Literary improvement seems like an unfair expectation.
The short story, free from the longuers of the novel is also exempt from the novel's conclusiveness--too often forced and false: it may thus more nearly than the novel approach aesthetic and moral truth.
For a Jewish Puritan of the middle class, the novel is serious, the novel is work, the novel is conscientious application why, the novel is practically the retail business all over again.
Listening to people discussing a novel can be very interesting, if you've read whatever novel is being discussed. No one, it seems, ever says, "This is a great book but I didn't like it." Taking a little time to think about why this might be has been very liberating.
I mean, every novel's a historical novel anyway. But calling something a historical novel seems to put mittens on it, right? It puts manners on it. And you don't want your novels to be mannered.
Sure, 'Les Miserables' can be melodramatic. And seeing the musical instead of reading the novel will save you some time and spare you the long part where Hugo goes on and on about the Parisian sewer system. But I would hate for the novel to lose that.
If someone does learn about the world from reading a novel of mine, that makes me very happy. It's probably not what brings me into the novel in the first place - I usually am pulled in by some big question about the world and human nature that I'm not going to resolve in the course of the novel. But I'm very devoted to getting my facts straight.
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
The idea that a student can write a sonnet or a novel without having a sound understanding about its history, and where it fits into literature as a whole, seems to me to be manifestly daft.
People wonder why the novel is the most popular form of literature; people wonder why it is read more than books of science or books of metaphysics. The reason is very simple; it is merely that the novel is more true than they are.
The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don't know - Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel - the quality of philosophy.
'Annapurna' is a sort of novel. It's a novel, but a true novel.
I suppose drama can either take the place of a novel or can be very closely allied with it. It's quite customary to turn a successful novel into a film or a television series because you can dramatize and pictorialize a novel.
Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
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