A Quote by Sharon Kay Penman
My novels about medieval Wales were set in unexplored terrain; my readers did not know what lay around every bend in the road.
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When I left Queen's my future seemed to stretch out before me like a straight road. I thought I could see along it for many a milestone. Now there is a bend in it. I don't know what lies around the bend, but I'm going to believe that the best does.
'Shank' is set in 2015, and it's set in a post-apocalyptic world where the main commodity is food. It's about how five young gentlemen travel around that harsh terrain and survive.
I first read the 'Raj Quartet' in the early 1970s, when Paul Scott's decision to set his novels in the dying days of the British Raj in India seemed an eccentric choice, almost as though he did not want readers. The British were tired of their imperial past.
A suffering world cries for mercy, as far as the eye can see. Lawyers around every bend in the road, lawyers in every tree.
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
When I moved to Wales more than twenty years ago and began to research 'Here Be Dragons,' I was fascinated from the first by the Welsh medieval laws, by the discovery that women enjoyed a greater status in Wales than elsewhere in Europe.
Everyone I know is fervently proud to be Welsh but you try not to be preachy about it. It's difficult at times. But when I go home to north Wales, or to somewhere I've never been in south Wales, I still feel at home because I'm in Wales. It's hard to explain.
Is It Unloving to Speak of Hell? If you were giving some friends directions to Denver and you knew that one road led there but a second road ended at a sharp cliff around a blind corner, would you talk only about the safe road? No. You would tell them about both, especially if you knew that the road to destruction was wider and more traveled. In fact, it would be terribly unloving not to warn them about that other road.
The Novelist As Teacher”: “I would be quite satisfied if my novels (especially the ones I set in the past) did no more than teach my readers that their past – with all its imperfections – was not one long night of savagery from which the first Europeans acting on God’s behalf delivered them.
My dad planned a road trip every summer, so we always did the road trip. We did the Eastern Seaboard and learned about the history of the United States.
I worry about Zimbabweans. They bend, they bend, they bend, they bend - where do the people break? How long can they go on scrounging for food in garbage dumps and using the moisture from sewage drains to plant vegetables?
Are my characters copies of people in real life? ... Don't ever believe the stories about authors putting people into novels. That idea is a kind of joke on both authors and readers. All the readers believe that authors do it. All the authors know that it can't be done.
I respond very well to rules. If there are certain parameters it's much easier to do something really good. Especially when readers know what those are. They know what to expect and then you have to wrong-foot them. That is the trick of crime fiction. And readers come to crime and graphic novels wanting to be entertained, or disgusted.
Most people who live at the border or are familiar with the border know that a Berlin-like wall stretching from San Diego to Brownsville is not necessary. And the costs would be prohibitive. And there are places on the border, such as the Arizona desert or the open terrain around the Big Bend in South Texas, where Mother Nature has created her own barrier that is not easily passable. Or if you do pass through it, you are easily detected.
When you write about faith, people will be upset with you no matter what. I've heard from readers who were disgusted with the depiction of monotheistic religion. I've also heard from readers who were upset because my portrayal of faith did not adhere to their specific doctrines. Fortunately, I have high risk tolerance.
The appeal of reading, she thought, lay in its indifference: there was something undeferring about literature. Books did not care who was reading them or whether one read them or not. All readers were equal, herself included. Literature, she thought, is a commonwealth; letters a republic.
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