A Quote by William Boyd
There's a sense in all my novels that nothing is certain.
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It would have been impossible for me to have told anyone what I derived from these novels, for it was nothing less than a sense of life itself.
Unfortunately we've seen meditation insulted in a sense with the image of ritual. You have to dress a certain way, follow a certain type of lifestyle, all that sort of thing, very culty - and that, of course, has nothing to do with the practice whatsoever.
This is in us: a certain sense of denial, a certain sense of groupthink. This is not something that sits on one party line or the other. We've seen it in all permutations throughout history, and at the core of it is a certain insistence that what we want to be true is now true, and what we don't like is now false.
I'm often a little perplexed, when I read a review of a book, by the quotes that are pulled out as evidence of excellent prose. I don't think great novels are necessarily composed of great prose, or that there's a correlation between beautiful prose and the quality of a work of fiction. A really good, interesting novel will often let a little ugliness get into its words - to create a certain effect, to leave the reader with a certain sense of disorientation.
The novels were an escape from reality in the sense that we could marvel at their beauty and perfection. Curiously, the novels we escaped into led us finally to question and prod our own realities, about which we felt so helplessly speechless.
Novels need readers of a certain kind, people who are patient and enjoy immersing themselves in another perspective for uninterrupted stretches of time. Reading habits might well be changing. People who pay for novels might overlap significantly with those who engage in Twitter and Facebook.
I have a very keen sense of smell and always associate certain people and places with particular fragrances. For me, nothing is more likely to set a mood than certain scents. I find I vary the perfume I use depending on the climate and the time of day. However a few great perfumes seem to work for most occasions.
In all my novels, a sense of place - not just geographic but social - is a critical element. I have always been drawn to the novels of Edith Wharton, among others, where social dynamics are crucial. Wharton's class consciousness fascinates me, and some of the tension in my books stems from that.
The more you see, especially being young, the more you see the past, the more you can draw upon that and the more you can make the present and the future. It's how you process the past and at oftentimes in the picture, there are references to certain imagery from certain pictures, and certain novels.
I have a visual sense for the music. It has to stay true to a certain sense of period. I rely on a sense of colors and mood in my approach to the arrangement.
Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
Nothing is secure. That is my message. Nothing can be secure, because a secure life will be worse than death. Nothing is certain. Life is full of uncertainties, full of surprises - that is its beauty! You can never come to a moment when you can say, "Now I am certain." When you say you are certain, you simply declare your death, you have committed suicide.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
Life is nothing until it is lived; but it is yours to make sense of, and the of it is nothing other than the sense you choose.
The structure of my novels has nothing to do with the narrative mode of cinema. My novels would be very difficult to film without ruining them completely. I think this is the area where writers need to place ourselves: from a position of absolute modernity and contemporaneity, creating a culture of objects which cinema cannot.
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