A Quote by Wilkie Collins
The dull people decided years and years ago, as everyone knows, that novel-writing was the lowest species of literary exertion, and that novel reading was a dangerous luxury and an utter waste of time.
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In '94, I started writing a novel about an enormous terrorist act that destroyed the United States. The novel takes place twenty years after this destruction, with all the stuff that we're dealing with now - a dirty war, the disappeared, the concept of terrorism. Anyway, 9/11 happened some years into the process, and I was like, OK, I don't have a novel.
Israel is a fulfilled dream. Nothing that exists here existed here a hundred years ago. "The State of the Jews" was not a title of a country. It was a title of a futuristic novel. A little more than a hundred years ago, "Tel Aviv" was not a city. It was a title of another novel written by the same author. The "Return to Zion" was a name of another novel. There was a bookshelf. There was no state. There was no nation. All you can see, if you look through the window - everything you see is a fulfillment of dreams, different dreams.
The philosophy of individualism owes a great deal to the tradition of novel-writing and novel-reading. In its development and in its aesthetics, the novel is not politically neutral; it has been a participant in history all along.
'The Fourth Hand' was a novel that came from twenty years of screenwriting concurrently with whatever novel I'm writing.
Reading a novel, War and Peace for example, is no Catnap. Because a novel is so long, reading one is like being married forever to somebody nobody knows or cares about.
Every time that I write a novel I am convinced for at least two years that it is the last one, because a novel is like a child. It takes two years after its birth. You have to take care of it. It starts walking, and then speaking.
You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.
I didn't feel the need for anonymous affection, for people in the dark applauding. To me, it would be like writing a novel and then getting up every night and reading your novel.
Those words are from Lynda Barry's novel 'Cruddy.' I've carried them with me for some time. There's a lot in my life I wasn't expecting. One is the realization that I stood at this pulpit and delivered a reading for my own graduation...15 years ago. Unexpectedly, I'm old.
If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.
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.
A little more than a hundred years ago, "Tel Aviv" was not a city. It was a title of a novel written by an author. The "Return to Zion" was a name of another novel. There was a bookshelf. There was no country. There was no state. There was no nation. There was no physical Jewish reality in this country.
Fifteen years ago I walked out of a production of one of my plays at the RSC because I decided it was a waste of time.
To write a novel may be pure pleasure. To live a novel presents certain difficulties. As for reading a novel, I do my best to get out of it.
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.
I think the novel is not so much a literary genre, but a literary space, like a sea that is filled by many rivers. The novel receives streams of science, philosophy, poetry and contains all of these; it's not simply telling a story.
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