A Quote by Cynthia Ozick

In the compact between novelist and reader, the novelist promises to lie, and the reader promises to allow it. — © Cynthia Ozick
In the compact between novelist and reader, the novelist promises to lie, and the reader promises to allow it.
A great novelist must open the reader's heart, allow the reader to remember the vastness and glory -- and shame and shabbiness -- of what it is to be human.
People in a novel can be understood completely by the reader, if the novelist can be understood completely by the reader, if the novelist wishes; their inner as well as their outer life can be exposed.
Satan promises the best, but pays with the worst; he promises honor, and pays with disgrace; he promises pleasure, and pays with pain; he promises profit, and pays with loss, he promises life, and pays with death. But God pays as he promises; all his payments are made in pure gold.
It is the job of the novelist to touch the reader.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
The novelist teaches the reader to comprehend the world as a question.
There's a unique bond of trust between readers and authors that I don't believe exists in any other art form; as a reader, I trust a novelist to give me his or her best effort, however flawed.
The suspense of a novel is not only in the reader, but in the novelist, who is intensely curious about what will happen to the hero.
My job as the novelist is to present the whole case, then the reader gets to render her verdict.
Sigmund Freud was a novelist with a scientific background. He just didn't know he was a novelist. All those damn psychiatrists after him, they didn't know he was a novelist either.
The suspense in a novel is not only in the reader, but in the novelist himself, who is intensely curious too about what will happen to the hero.
Every genuinely literary style, from the high authorial voice to Foster Wallace and his footnotes-within-footnotes, requires the reader to see the world from somewhere in particular, or from many places. So every novelist's literary style is nothing less than an ethical strategy - it's always an attempt to get the reader to care about people who are not the same as he or she is.
Many novelists say, "I'm not a political novelist" - myself included. That's a standard, even a default position. Whereas that divide between art and politics simply isn't possible in many countries. In Hungary, you couldn't be a fiction writer and then, when asked about politics, put your hands up in the air and say "But I'm not a political novelist." If you're a Chinese novelist, a novelist in a country where censorship is such an issue, how do you claim that politics has nothing to do with your writing? It's in your writing, it's shaping your words.
I am not a psychological novelist, and I try very hard not to allow the reader to see the plight or circumstances of the characters as individual psychological plights. That's my preference; still, a lot of people do read my novels as psychological studies, and they're right to read them that way too, if that's what they mean to them.
The man who promises everything is sure to fulfil nothing, and everyone who promises too much is in danger of using evil means in order to carry out his promises, and is already on the road to perdition.
The object of the novelist is to keep the reader entirely oblivious of the fact that the author exists - even of the fact he is reading a book.
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