A Quote by Sarah Weinman
Rereading 'Child 44' brought out the novel's meatier pleasures, its ability to create vivid characters in a world both alien to our own and chillingly recognizable.
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A form wherein we can enjoy simultaneously what is best in both the novel and the short story form. My plan was to create a book that affords readers some of the novel's long-form pleasures but that also contains the short story's ability to capture what is so difficult about being human - the brevity of our moments, their cruel irrevocability.
Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.
What do you do in a novel? You take recognizable characters from your own life, and you fantasize about what they're really like.
Rereading one's own novels after many years is always a fraught business, but when a novel has fallen out of print - 'The Very Model of a Man' is the only novel of mine that has - and so crops up infrequently in conversations with readers or indeed with oneself, revisiting it can be perilous.
Aquaman has the ability to be a huge character, and I think we really brought him to a new level in comic books, and I'm hoping that new level continues to everything that is DC Entertainment. Certainly, that's the goal. He's one of our most recognizable and most important characters, and it's going to continue to stay that way.
I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.
With '44 Scotland Street' I found myself having to work out how a daily novel works, and it is completely different to a conventional novel.
In any area of our lives where we fail to act from integrity or violate our own understanding of what is right or wrong for us, we fall prey to putting the outside world’s needs before our own. We then disconnect from the enormity of our power and our ability to create what we want.
Ultimately, any character you write - no matter how fantastic or alien - is an extension of yourself. When our characters reflect the truth of our souls and psyches, they become real and compelling. The wonderful paradox is that the characters then take on lives of their own, separate from their creators. That's where the magic comes in.
Reading fiction is important. It is a vital means of imagining a life other than our own, which in turn makes us more empathetic beings. Following complex story lines stretches our brains beyond the 140 characters of sound-bite thinking, and staying within the world of a novel gives us the ability to be quiet and alone, two skills that are disappearing faster than the polar icecaps.
Compassion for the other comes out of our ability to accept ourselves. Until we realize both our own weaknesses and our own privileges, we can never tolerate lack of status and depth of weakness in the other.
Our default faith mode is to trust, above all things, our own ability to create a safe, controllable, predictable world.
One of the most difficult things for any artist to do is create a world that looks both completely alien yet real and possible.
People are, in the confines of their own apartments, becoming Magellans of the interior world and reaching out to this alien thing and beginning to map it and bring back stories that can only be compared to the kind of stories that the chroniclers of the New World brought back to Spain at the close of the 15th century.
We think that the world is a solid, vivid place, full of shape and colour and solid objects like this table and this microphone and so on, but we actually create that in our heads out of the bits of information that hit the back of our eyeballs or hit our eardrums or hit our tongues or whatever.
The World War I, I'm a child of World War I. And I really know about the children of war. Because both my parents were both badly damaged by the war. My father, physically, and both mentally and emotionally. So, I know exactly what it's like to be brought up in an atmosphere of a continual harping on the war.
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