A Quote by Margaret Atwood

I was once a graduate student in Victorian literature, and I believe as the Victorian novelists did, that a novel isn't simply a vehicle for private expression, but that it also exists for social examination. I firmly believe this.
One must believe that private dilemmas are, if deeply examined, universal, and so, if expressed, have a human value beyond the private, and one must also believe in the vehicle for expressing them, in the talent.
I'm completely uninterested in the origins of Stonehenge. I don't care about the real story behind it or whether it should be saved or not. What I'm interested in is this: in the Victorian era, you could go there as an early cultural tourist and you were given a chisel to chip off a bit of the stones and take it with you. That's what you did in Victorian times.
At university, one of my areas of study was Victorian literature, so I decided to see if I could write a novel as carefully planned and constructed as those of George Eliot, but with the narrative energy of Dickens.
I used to be very fascinated by Victorian stuff, and my best known books, the Mortal Engines series, have a sort of retro, Victorian vibe, despite being set in the far future.
I used to be very fascinated by Victorian stuff, and my best-known books, the 'Mortal Engines' series, have a sort of retro, Victorian vibe, despite being set in the far future.
The Victorian house and lots of other buildings weren't oppressive in themselves. They were often very airy and gingerbready and fancy. But they were associated with all this [Victorian] stuffiness.
I'm obsessed with the Victorian novel. I can't help it. I feel like the novel then was so powerful and agile in ways I'm not sure it is now.
A great piece of literature does not try to coerce you to believe it or agree with it. A great piece of literature simply is . It is a vehicle of truth, but it is not a blueprint, and we tend to confuse the two.
Period films to me are very often alienating to the audience. There's very often a formality. A staunchy quality to them that comes from the misenscene. It also comes from the performances of the actors, because they're acting Victorian which really means that they're just acting the way they've seen previous actors act Victorian.
Victorian literature was my subject at Harvard.
I like all sorts of things, not necessarily just Victorian. Even though I tend to read a lot of Victorian novels, I like a lot of contemporary stuff.
I firmly believe that there is a God. I firmly believe that there is a Heaven. And I firmly believe that if you go there, it's gonna be great.
I love the Victorian era, and I always have, but I had a leg up on the writing because I was familiar with a lot of the science from the Victorian era. And that led to a massive interest in the science of this time of history.
The main reason why historians have skated over the relationship of Victorian PMs with the press is that they haven't been looking for it. It takes a lecturer in media studies such as Paul Brighton to point out that media management was part of the job of a Victorian prime minister.
We all now tell stories by cutting from one dramatic scene to the next, whereas Victorian novelists felt free to write long passages of undramatic summary.
The man Dickens, whom the world at large thought it knew, stood for all the Victorian virtues - probity, kindness, hard work, sympathy for the down-trodden, the sanctity of domestic life - even as his novels exposed the violence, hypocrisy, greed, and cruelty of the Victorian age.
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