A Quote by Michel Faber

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.
The novel at its nineteenth-century pinnacle was a Judaized novel: George Eliot and Dickens and Tolstoy were all touched by the Jewish covenant: they wrote of conduct and of the consequences of conduct: they were concerned with a society of will and commandment.
There's such a wealth of literature from the 18th century and 19th century, George Eliot... Jane Austen... that's all about a genteel high society, relationships, all of that stuff. There wasn't ever really, apart from Dickens, a literary evocation of working class life.
England opened up the world of literature for me. Not really having a world of my own, I made up for my disinheritance by absorbing the world of others... I loved them: George Eliot, Thomas Hardy, Charles Dickens... I adopted them passionately.
As I've gotten older I've become a devotee of 19th-century authors, such as Charles Dickens and George Eliot.
Of course I planned to write the Great American Novel; that lasted about a week, at which point I decided I had nothing to say that could possibly qualify. So I wrote a romance instead.
I'm an old-fashioned English lit. man. Straight down the line - it's George Eliot, it's Dickens, it's Dr. Johnson, it's Jane Austen.
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.
I won't go so far as to say that novels sell in inverse proportion to their worth, for just occasionally, someone like Dickens or George Eliot comes along to prove the opposite.
I grew up in a working-class Catholic family in south Louisiana. I went to a state university. I taught literature, wrote a novel that was the novel I wanted to write, and got a couple of good reviews but no real traction. I had no idea how to get a job in TV.
I'm a privileged person, I feel privileged because of who I am. I write books, I write novels, I write essays and I teach and I go from university to university. I'm one of the old, but I still go around, but I only see those who are not like that, I don't see the junk youth. I only meet students, and even those who are not formally at the university, if they come to listen to me, they come to read me, it means they are not junk students.
So is fighting incompleteness the source of artistic neurosis? I doubt it. At most, this would apply to artists who deal with particular kinds of problems. I don't think we should think of Haydn or Mozart or Dickens or George Eliot in these terms.
No novel has ever changed anything, as far as I can see. And the great satirists, like Swift and Dickens, tend to write about abuses and injustices that have already been partially corrected - you write about it after it's over.
I attempt to write a good novel. Whether it is literature or not is something that will be decided by the ages, not by me and not by a pack of critics around the globe.
In this world that we live in we have originality in literature, but we also have TV and movies. I write love stories. I could never write a love story based on the Titanic - that was never a novel. If I see an idea that's been done in film, I try to avoid that.
I studied English literature at university, but for some reason we only spent one week on [Charles] Dickens, so I remember just trying to find the shortest book that I could find. I was like, "'Hard Times,' really great - it's short, that'll do it."
Great literature has always been written in a like spirit, and is, indeed, the Forgiveness of Sin, and when we find it becoming the Accusation of Sin, as in George Eliot, who plucks her Tito in pieces with as much assurance as if he had been clockwork, literature has begun to change into something else.
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