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I live in Harlem, New York City. I am unmarried. I like 'Tristan,' goat's milk, short novels, lyric poems, heat, simple folk, boats and bullfights; I dislike 'Aida,' parsnips, long novels, narrative poems, cold, pretentious folk, buses and bridges.
Sex is. There is nothing more to be done about it. Sex builds no roads, writes no novels and sex certainly gives no meaning to anything in life but itself.
Writing nonfiction is more like sculpture, a matter of shaping the research into the finished thing. Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.
I seldom read anything that is not of a factual nature because I want to invest my time wisely in the things that will improve my life. Don't misunderstand; there is nothing wrong with reading purely for the joy of it. Novels have their place, but biographies of famous men and women contain information that can change lives.
I do mourn my characters. I wrote an essay once where I was sure that far back in a marsh there was a hummock - a little hill of hardwoods - and an old farm house, where all the heroines in my novels lived together with all my beloved dead dogs. I've discussed this with my therapist, naturally. He says it's okay in fair amounts.
My platform has been to reach reluctant readers. And one of the best ways I found to motivate them is to connect them with reading that interests them, to expand the definition of reading to include humor, science fiction/fantasy, nonfiction, graphic novels, wordless books, audio books and comic books.
Dystopian novels help people process their fears about what the future might look like; further, they usually show that there is always hope, even in the bleakest future.
Love is more pleasant than marriage for the same reason that novels are more amusing than history.
Graphic novels are not traditional literature, but that does not mean they are second-rate. Images are a way of writing. When you have the talent to be able to write and to draw, it seems a shame to choose one. I think it's better to do both.
Novels are not about expressing yourself, they're about something beautiful, funny, clever and organic. Self-expression? Go and ring a bell in a yard if you want to express yourself.
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All great novels, all true novels, are bisexual.
I think of novels in architectural terms. You have to enter at the gate, and this gate must be constructed in such a way that the reader has immediate confidence in the strength of the building.
We try to make our own BTS context. Maybe it's risky to bring some inspiration from novels from so long ago, but I think it paid off more. It comes through like a gift box for our fans. That's something you can't find easily from American artists.
Sometimes people write novels and they just be so wordy and so self-absorbed.
I think that's because believable action is based on authenticity, and accuracy is very important to me. I always spend time researching my novels, exploring the customs and attitudes of the county I'm using for their setting.
Within my own life, I read all the beloved novels by lamps of vegetable oil; I saw the Standard Oil invading my own village, I saw gas lamps in the Chinese shops in Shanghai; and I saw their elimination by electric lights.
I think books, novels and autobiographies have a power to touch people far more personally than films do, so there's a bit more of a responsibility when you then dramatise it.
I had the feeling that focusing on objects and telling a story through them would make my protagonists different from those in Western novels - more real, more quintessentially of Istanbul.
I felt that, in some ways, my novels lacked heart because of the distance between me and the subject matter. But no one wants to read a book based on good health, a happy upbringing, a long marriage.
People respect nonfiction but they read novels.
E. O. Wilson
The rise of the dramas in the thirteenth century, and the rise of the great novels in a later period, together with their frank glorification of love and the joys of life, may be called the Third Renaissance.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
You know, people call mystery novels or thrillers 'puzzles.' I never understood that, because when I buy a puzzle, I already know what it is. It's on the box. And even if I don't, if it's a 5,000-piece puzzle of the 'Mona Lisa', it's not like I put the last piece in and go, 'I had no idea it's the 'Mona Lisa'!'
People are much more complicated in real life, but my characters are as subtle and nuanced as I can make them. But if you say my characters are too black and white, you've missed the point. Villains are meant to be black-hearted in popular novels. If you say I have a grey-hearted villain, then I've failed.
Black And White
I would only read the novels that people classify as 'beach books' if I were being held prisoner and the only alternative was the 'Book of Mormon.'
Novels by British writers are among my favorites because our family has enjoyed travel in England and because they are written with an economy of words as if they were written with a pen instead of a computer. Penelope Fitzgerald is a favorite.
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