A Quote by Raymond Queneau
We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.
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I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
This is an important point about symbols: they do not refer to historical events; they refer through historical events to spiritual or psychological principles and powers that are of yesterday, today, and tomorrow, and that are everywhere.
In 'Labor Day Hurricane, 1935,' Douglas Trevor vividly recreates a historical event. While that is the only story in A THIN TEAR IN THE FABRIC OF SPACE in the historical past, many of the other stories juxtapose fact-both historical and scientific-with narration to an engaging effect, one that distinguishes the voice of this new writer.
Historical fiction is not history. You're blending real events and actual historical personages with characters of your own creation.
In the aftermath of September 11, you can't - as Tony Blair was so fond of suggesting - draw a line under historical events. They don't go away. They come back.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
It is easy to see, though it scarcely needs to be pointed out, since it is involved in the fact that Reason is set aside, that faith is not a form of knowledge; for all knowledge is either a knowledge of the eternal, excluding the temporal and historical as indifferent, or it is pure historical knowledge. No knowledge can have for its object the absurdity that the eternal is the historical.
In the same way that I've no desire to live in earlier historical periods, I never touch historical recipes. Most historical cooking is detestable.
We really should stop taking historical novelists seriously as historians. The idea that they have authority is ludicrous. They are very good at imagining character: that's why the novels sell. They have no authority when it comes to the handling of historical sources. Full stop.
If you're writing something that's clearly labelled as an alternative history, of course it's perfectly legitimate to play with known historical characters and events, but less so when you're writing an essentially straight historical fiction.
If you make a determination that [story of Abraham and the sacrifice of Isaac] is not historical, do you throw it away? I don't think we can say whether it's precisely, scientifically historical.
If you're playing a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
As much as I care about historical context - I'm very eager to read a really great historical account.
The facts which our senses present to us are socially performed in two ways: through the historical character of the object perceived and through the historical character of the perceiving organ. Both are not simply natural; they are shaped by human activity, and yet the individual perceives himself as receptive and passive in the act of perception.
My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.
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