A Quote by Ann Goldstein
The Neapolitan novels have a lot of references to things outside, to things of the world, to culture, politics, the city of Naples. People have mentioned that Naples is like a character in the novels.
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I'll always thank all of the teams I played for from the bottom of my heart because they all helped me grow as a person and a footballer, but the three years I spent in Naples were fantastic. That city gave me everything - my name, maturity, and international recognition. I get very emotional when Naples is mentioned.
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.
I am Neapolitan and Naples are the team from where I grew up.
I have a concept of Naples that is not so much of a city, per se, but rather an ingredient of the human spirit that I detect in everyone, Neapolitan or not. The idea that 'Neapolitanism' and mass ignorance are somehow indissolubly linked is one that I am prepared to fight with all the strength I have.
Apparently, the city of Delhi is a 'character' in my novels. I'd argue that it's a ... city... in my novels.
I'm from Naples. I was born in a poor neighborhood and I always, in my heart, felt like it would be amazing to be able to adopt a child from Naples. I could give someone the opportunity I had. I would love to give back in that way and pay it forward.
All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.
Italy is a tough country to be a comedian in - I can't invent stuff like this. Nearly eighty crooks in Parliament - that's about one crook in twelve. It's worse than Scampia, the most dangerous Naples slum, which is infested by the Camorra, the Neapolitan mafia. There, the criminals are only one in fifteen!
I obviously prefer writing novels but I take my journalism very seriously, and I enjoy doing it between novels. It gives me an opportunity to move in the outside world.
White people use their literature to maintain culture. That's why you find references to Milton and Spencer and Shakespeare and Dostoyevsky in contemporary novels.
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
Poems, novels - these things belong to the nation, to the culture, and the people.
The difference does not lie in the things that news does that novels do not do, but in the things that novels do that news cannot do. In other words, this basic technique of news - just one among many - is something a novel can use, but a novel can deploy a multitude of other techniques also. Novels are not bound by the rules of reportage. Far from it. They're predicated on delivering experience.
I don't like to make strong statements. I want to write strong novels... I keep my deep, radical things for my novels.
I don’t like to make strong statements. I want to write strong novels … I keep my deep radical things for my novels.
I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.
