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No novel is a clone of any preceding one, though with a background cast of characters and things that has grown to thousands, there are many familiar aspects.
When people talk about the death of the novel, they are speaking of the need for the birth of something different.
I do one Xanth novel a year, because at the moment that is all that publishers will accept; they don't want any other type of fiction from me, so Xanth pays my way.
I hope to read a Harry Potter novel soon, to see what it's all about. I admit to being annoyed that many good light fantasy writers have had trouble getting published, in England and elsewhere, when it is obvious the readers were waiting for us all along.
Whenever I read a contemporary literary novel that describes the world we're living in, I wait for the science fiction tools to come out. Because they have to - the material demands it.
I've never abandoned the novel.
V. S. Naipaul
The novel is always pop art, and the novel is always dying. That's the only way it stays alive. It does really die. I've been thinking about that a lot.
Great wealth could make an enormous difference over the next decade if they sensibly support the scientific elite. Just the elite. Because the elite makes most of the progress. You should worry about people who produce really novel inventions, not pedantic hacks.
James D. Watson
I don't like 'graphic novel.' It's a word that publishers created for the bourgeois to read comics without feeling bad. Comics is just a way of narrating - it's just a media type.
I hate this word 'graphic novel.' It is a term publishing houses have created for the bourgeois so they wouldn't be ashamed of buying comics... I'm not a graphic novelist. I am a cartoonist and I make comics and I am very happy about it.
I invented the historical spy novel.
I much prefer a plotted novel to a novel that is really conceptual.
If one book's done this well, you want to write another one that does just as well. There's that horror of the second novel that doesn't match up.
It makes more sense to write one big book - a novel or nonfiction narrative - than to write many stories or essays. Into a long, ambitious project you can fit or pour all you possess and learn.
If you wrote a novel in South Africa which didn't concern the central issues, it wouldn't be worth publishing.
My family can always tell when I'm well into a novel because the meals get very crummy.
For me, a novel is always the result of my attempt to impose myself on raw circumstances. It is a concrete form of lived experience.
When 'The Awakening' was published it was considered so scandalous it was banned in the author's home-town library, and she herself was barred from the Fine Arts Club in the same city. What the novel has to offer, among other things, is honesty.
My writing often contains souvenirs of the day - a song I heard, a bird I saw - which I then put into the novel.
When I was 26, I wrote my first mystery, 'The Thomas Berryman Number', and it was turned down by, I don't know, 31 publishers. Then it won an Edgar for Best First Novel. Go figure.
I feel like I've got a novel in me somewhere, but that's something... I was just talking to a buddy of mine about it, who's a writer as well, and he's nearly done with his first novel, and it's taken him 11, 12 years to do it. And I can totally understand; it's a long process.
I don't think Ireland has ever had a genius for the novel. Of course, there were plenty of Irish novels, but I don't think that was ever the natural means of expression for the Irish.
Let me now praise the American writer James Dickey. In 1970, his novel 'Deliverance' was published. I found it to be 278 pages that approached perfection. Its tightness of construction and assuredness of style reminded me of 'The Great Gatsby.'
In the case of my book, I don't think it's really the coming-out gay novel that everyone really needed, even though it was received as such. The boy is too creepy, he betrays his teacher, the only adult man with whom he's enjoyed a sexual experience, etc.
'The Sound of Things Falling' may be a page turner, but it's also a deep meditation on fate and death. Even in translation, the superb quality of Vasquez's prose is evident, captured in Anne McLean's idiomatic English version. All the novel's characters are well imagined, original and rounded.
William Arthur Ward
Martin Luther King, Jr.
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