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Martin Amis Quotes
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The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.
People ask me if I ever thought of writing a children's book. I say, 'If I had a serious brain injury I might well write a children's book', but otherwise the idea of being conscious of who you're directing the story to is anathema to me, because, in my view, fiction is freedom and any restraints on that are intolerable.
If every inhabitant of a liberal democracy believes in liberal democracy, then it doesn't matter what creed or colour they are.
Novelists tend to go off at 70, and I'm in a funk about it, I've got myself into a real paranoid funk about it, how the talent dies before the body.
You cannot combine being a movie star with not being a movie star.
It's an ancient idea that the leader of a democracy should not be the cleverest but the most average. That's an arguable point, but the world has decided otherwise - except in America, where it still divides the country right down the middle.
I would never write about someone that forced me to write at a lower register than what I can write.
Present-day Spain translates as many books into Spanish, annually, as the Arab world has translated into Arabic in the past 1,100 years.
Weapons are like money; no one knows the meaning of enough.
When we read, we are doing more than delectating words on a page stories, characters, images, notions. We are communing with the mind of the author.
All my adult life I have been searching for the right adjective to describe my father's peculiarly aggressive comic style. I recently settled on 'defamatory.'
Language leads a double life - and so does the novelist. You chat with family and friends, you attend to your correspondence, you consult menus and shopping lists, you observe road signs, and so on. Then you enter your study, where language exists in quite another form - as the stuff of patterned artifice.
When I wrote 'The Pregnant Widow' three or four years ago, I tried to reread my first novel, 'The Rachel Papers,' because their young heroes are the same age. I couldn't finish it. It seemed to me so technically slapdash and weak.
Deciding to write a novel about something - as opposed to finding you are writing a novel around something - sounds to me like a good evocation of writer's block.
Everything seems fine until you're about 40. Then something is definitely beginning to go wrong. And you look in the mirror with your old habit of thinking, 'While I accept that everyone grows old and dies, it's a funny thing, but I'm an exception to that rule.'
I am, incidentally, the only writer to have received the Somerset Maugham award twice - the first time for my first novel, the second time for my second first novel.
Kingsley Amis was a lenient father. His paternal style, in the early years, can best be described as amiably minimalist - in other words, my mother did it all.
It is very difficult, it is perhaps impossible, for someone who loves his mother to love the woman whom your father left her for.
The literary interview won't tell you what a writer is like. Far more compellingly to some, it will tell you what a writer is like to interview.
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