A Quote by Sarah Hall
Various books revolutionised what I think about novels and showed me that they're not strict, formulaic things. 'Coming Through Slaughter' by Michael Ondaatje was one of them.
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Michael Ondaatje’s work taught me how to be at home in fragments, and how to think about a big story in carefully curated vignettes. All his books were odd, all of them ‘unfinished’ the way Chopin’s Études are unfinished: no wasted gestures, no unnecessary notes.
I wanted to know what it was like to be a drug addict, and have an eating disorder, and have a loved one die, and fall in love. I saw my friends going through these things, I saw the world going through these things, and I needed to understand them. I needed to make sense of them. Books didn’t make me wallow in darkness, darkness made me wallow in books, and it was books that showed me there is light at the end of the tunnel.
Like many a better one before me, I have gone down under the force of numbers, under the books and books and books that keep coming out and coming out and coming out, shoals of them, spates of them, flash floods of them, too blame many books, and no sign of an end.
We talked about various aspects of what we wanted to talk about, Hillary [Clinton] and [Donald] Trump and down-ballot stuff, various issues. One of the things that it showed was you've got to use fear.
There are loads of novels that I really love, like Haruki Murakami's books, and when I read them, I do think about how they would work as an anime. But I do believe that those are great books because they work best as novels, or great manga work best in that form.
It's taken a while for me to figure out my sound. It's tough, coming from DJing, because you know how things are supposed to sound, but you also don't want to be formulaic about it.
As a teenager I read a lot of books. Books with lots of scary trends, things like nuclear weapons and overpopulation and global diseases, and I thought, 'Wouldn't it be great to write stories that showed people these problems and that we could do something about them.'
One of the things that's exciting for me about this novel is that, to me, Brookland and The Testament of Yves Gundron were both, in certain regards, crypto-steampunk. They're both books that are interested in an alternate technological past that in fact didn't historically come to pass. If you were to ask me what my novels were about, I would say, well, these are novels about technology and how we relate to technology and what technology means.
No matter how many great things you say about Jacques Pepin, there's always more. Through his books and videos, he taught me the importance of technique in the kitchen, but, more significantly, he showed me what it means to be a great teacher and educator.
I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.
Peggy Atwood, Alice Munro, Hugh Hood, Michael Ondaatje - these are all old friends from my early 20s.
Fiction allows for moral questioning, but through the back door. Personally, I like books that make you think - books you're still wondering about three days after you finish them; books you hand to a friend and say "Read this, so we can talk about it."
I think books in which people are really happy and things are going well are probably the most challenging novels there are to write, and there are very few of them.
Michael: Barzini will set me up through somebody close... that, supposedly, I won't suspect. Hagen: Somebody like me. Michael: You're Irish, they won't trust you. Hagen: I'm German-American. Michael: To them that's Irish.
Travel books are all sorts - some are autobiographies, some are about falling in love. Some are about having great meals, some are about suffering. There are as many different kinds of travel books as there are novels. People think a travel book is one thing. It's many things.
My best experience as a writer was working with Michael Ondaatje. He let me dismantle his novel, reimagine it, and still had dinner with me and gave me good notes. But the best thing about writing has been the writer's life, the sense of being expressed, the ownership of the day, the entirely specious sense of freedom we have, however slave we are to some boss or other. I wouldn't trade it for any other life.
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