Novelists From The United States

"Just like those who are incurably ill, the aged know everything about their dying except exactly when."

"Undermining experience, embellishing experience, rearranging and enlarging experience into a species of mythology."

"Obviously the facts are never just coming at you but are incorporated by an imagination that is formed by your previous experience. Memories of the past are not memories of facts but memories of your imaginings of the facts."

"You ask if I thought my fiction had changed anything in the culture and the answer is no. Sure, there's been some scandal, but people are scandalized all the time; it's a way of life for them. It doesn't mean a thing. If you ask if I want my fiction to change anything in the culture, the answer is still no. What I want is to possess my readers while they are reading my book — if I can, to possess them in ways that other writers don't. Then let them return, just as they were, to a world where everybody else is working to change, persuade, tempt, and control them. The best readers come to fiction to be free of all that noise, to have set loose in them the consciousness that's otherwise conditioned and hemmed in by all that isn't fiction."

"When I was first in Czechoslovakia, it occurred to me that I work in a society where as a writer everything goes and nothing matters, while for the Czech writers I met in Prague, nothing goes and everything matters. This isn't to say I wished to change places. I didn't envy their persecution and the way in which it heightens their social importance. I didn't even envy them their seemingly more valuable and serious themes. The trivialization, in the West, of much that's deadly serious in the East is itself a subject, one requiring considerable imaginative ingenuity to transform into compelling fiction."

"I was trying to solve the problem of this book. (My Life as a Man) When it seemed I never would, I stopped and wrote Our Gang; when I tried again and still couldn't write it, I stopped and wrote the baseball book; then while finishing the baseball book, I stopped to write The Breast. It was as though I were blasting my way through a tunnel to reach the novel I couldn't write. Each of one's books is a blast, clearing the way for what's next."

"In the eighties, a self-assured knucklehead whose unsurpassable hollowness and hackneyed sentiments and absolute blindness to every historical complexity became the object of national worship and, esteemed as a "great communicator" no less, won each of his two terms in a landslide."

"He went under feeling far from felled, anything but doomed, eager yet again to be fulfilled, but nonetheless, he never woke up. Cardiac arrest. He was no more, freed from being, entering into nowhere without even knowing it. Just as he'd feared from the start."

"Old age isn't a battle; old age is a massacre."

"I'm sure the liars as skillful and persistent and devious as you reach the point where it's the one you are lying to, and not you, who seems like the one with the serious limitations."

"Should he ever write an autobiography, he'd call it The Life and Death of a Male Body."

"Why must he mistrust his life just when he was more its master than he'd been in years?."

"There’s a plot afoot all right, and I’ll gladly name the forces propelling it—hysteria, ignorance, malice, stupidity, hatred, and fear. What a repugnant spectacle our country has become! Falsehood, cruelty, and madness everywhere, and brute force in the wings waiting to finish us off."

"Probably I couldn’t have done any worse—I might well have done a lot better—seeking solace from the two nuns on the Lyons Avenue bus than from someone reveling in the pleasures of the standard, petty corruptions that proliferate wherever people compete for even the tiniest advantages of rank."

"He tell us that in a democracy, keeping abreast of current events was a citizen’s most important duty and that you could never start too early to be informed about the news of the day."

"“Because what’s history?” he asked rhetorically when he was in his expansive dinnertime instructional mode. “History is everything that happens everywhere. Even here in Newark. Even here on Summit Avenue. Even what happens in his house to an ordinary man—that’ll be history too someday.”"

"Monty was the most overbearing of my uncles, which probably accounted for why he was also the richest."

"Turned the wrong way around, the relentless unforeseen was what we schoolchildren studied as “History,” harmless history, where everything unexpected in its own time is chronicled on the page as inevitable. The terror of the unforeseen is what the science of history hides, turning a disaster into an epic."

"That body is still new to her, she's still trying it out, thinking it through, a bit like a kid walking the streets with a loaded gun and deciding whether he's packing it to protect himself or to begin a life of crime."

"I found much that was alarming about being a citizen during the tenures of Richard Nixon and George W. Bush. But, whatever I may have seen as their limitations of character or intellect, neither was anything like as humanly impoverished as Trump is: ignorant of government, of history, of science, of philosophy, of art, incapable of expressing or recognizing subtlety or nuance, destitute of all decency, and wielding a vocabulary of seventy-seven words that is better called Jerkish than English."

"When the whole world doesn't believe in God, it will be a great place."

"I'm exactly the opposite of religious, I'm anti-religious. I find religious people hideous. I hate the religious lies. It's all a big lie. … I have such a huge dislike. It's not a neurotic thing, but the miserable record of religion. I don't even want to talk about it, it's not interesting to talk about the sheep referred to as believers. When I write, I'm alone. It's filled with fear and loneliness and anxiety — and I never needed religion to save me."

"I cannot and do not live in the world of discretion, not as a writer, anyway. I would prefer to, I assure you — it would make life easier. But discretion is, unfortunately, not for novelists."

"I write fiction and I’m told it’s autobiography, I write autobiography and I’m told it’s fiction, so since I’m so dim and they’re so smart, let them decide what it is or it isn’t."

"This indictment is a kind of fever that flares up from time to time. It flared up after "Defender of the Faith," again after "Goodbye Columbus," and understandably it went way up — to about 107 — after "Portnoy's Complaint." Now there's just a low-grade fever running, nothing to worry about."

"To become a celebrity is to become a brand name. There is Ivory Soap, Rice Krispies, and Philip Roth. Ivory is the soap that floats; Rice Krispies the breakfast cereal that goes snap-crackle-pop; Philip Roth the Jew who masturbates with a piece of liver."

"When you publish a book, it’s the world’s book. The world edits it."

"The road to hell is paved with works-in-progress."

"I got the same sort of feeling reading her works as I had gotten from classic Heinlein: a renewed faith in humanity and a desire to explore and do good in the universe. Great feeling."

"The apparently effortless fluidity of both style and story may actually have mitigated against critical notice, in comparison to notorious stylists like William Gibson, or, again, Ursula Le Guin. But, despite Bujold's space opera plots, the flashes of humour rare either in Le Guin or in SF as a whole, and the steady pigeonholing of her work as military SF, her similarities to Le Guin go far beyond the presence of that wall. Firstly, both are consummate character-builders. Indeed, characterization, emphasis on character, and plots that depend on character and the novums of technology are among Bujold's strongpoints. Nowhere does this emerge more clearly than if her work is taken as military SF and compared to that of writers like Jerry Pournelle or David Weber."

"Read, or you will be missing something extraordinary."

"It's an interesting problem, though, for writers of popular series. Should one throw one's protagonist over the Reichenbach Falls, or let him fade gently into the sunset of the Sussex Downs, keeping bees? (Or both?) No matter which the writer chooses, someone will be unhappy about it. If one's audience is large enough, it will collectively demand every possible closure, most mutually exclusive."

"The writer should always reserve the right to have a better idea."

"Lots of us SF-types like the idea of traveling to the Future (although, having now done so once myself -- the hard way -- I’m less sure), but why do we imagine the Future would want us? Oh, a few 21st-century Icemen, perhaps, as historical curiosities, but in our hundreds of millions? It would be like the greatest wave of immigration ever, but from the past into other people’s Now. It might seem to them like sacrificing resources needed for their children to their great-great-great-grandparents. Counter-evolutionary, among other things."

"I don’t write stories to tell readers what to think, or even tell them what I think; I write stories to show me what I think. Writing is always a journey of discovery that way, as suspenseful for me as I hope it will be for the audience."

"Some fortunate, prolific writers seem to be able, efficiently, to keep several projects going at once; it appears I am not one of them."

"Don't worry about that depressing old dictum "Write what you know". If you need to know something, look it up. Learn how to find out what you need to know to make it right. Be passionate, be picky, have enough self-criticism to demand of yourself your best and not sort of let it slide by. And remember that the greatest defect any piece of fiction can have is not to be finished."

"I am a much better person and a better writer having had my children than I would be otherwise. I would have missed a whole aspect of the human experience that's tremendously fundamental to things like characterization. A lot of writers write as if the hero sort of popped out of the box at age 22 fully formed. And one thing that raising children does is give you some sense of how human beings really are put together. So when you go to put together a character you can have a more realistic sense of where people really come from, why they really behave the way they do and what a tremendous amount of life and complexity lies behind every human being. But I think you can get that from being a father too. I think it's something you can do by growing up and being observant even if you don't have children."

"I don't take information and experience into my mind in that organized a fashion, but when I want to bring it out, somehow it's there. You write what you know because — like there's another choice? The trick is to try and know as much as possible."

""Thing is... she may get mad, but she isn't whiny or naggy about it. She doesn't store it up like a, a compost heap, all hot on the inside and rotting. She's angry like she has a right, and no one disputes it." She added after a moment, "Or tells her to be a good girl, or be quiet, or apologize. Or go to her room" ~ Lily Mason, on why she admires Captain Amma"

"Words won't break bones seemed like the lying-est lie Barr had ever been told, as a child. Bones knit eventually, he knew from close personal experience. The scars of slander, an insult not just delivered but believed, might never heal in a lifetime."

"Her eyes were full of new; it made them brighter."

"We see the world not as it is, but as we are. ~ Dag Redwing Hickory Bluefield"

"Over and over in his career, Pen had confronted the insight that the gods did not care for humans' material concerns, much to the humans' dismay. Only with what record of them was carved into their souls by their unique and individual lives, presented as the final offering upon the alter of their deaths. All deaths, in whatever form. One by one, each attended to with the same singular consideration. Each valuated with the discernment of a connoisseur adding to his collection. Each placed in the niche found most fitting to it. Denied by self-will sometimes, by the gods' will at others, but never lost by carelessness."

"She used to ask, 'Why did the gods give [my son] to me if they were only going to take him away?' Learned Retaka never had an answer. "No," said Pen slowly, "that's backward. The gods do not give us our children. We give our children to the gods.""

"Tolga guided him not to the morgue, but to a patient chamber alloted mostly to a dozen crippled old indigent men, some brought in to be healed, some to die. For a beggar, Pen was not entirely sure it was a better death than in an alley or under a bridge; death was never a comfortable process, despite cots and sheets and usually overworked attendants, and it took longer here."

"Really, murmured Des, Tronio is like a chicken that brought its own pot and onions."

"No tactical plan should hinge on one’s enemy making the right mistake."

"“A quagmire of delay,” Lady Xarre observed, “has trapped efforts at righting wrongs before.”"

"I did not say that well, Pen fretted. No, said Des thoughtfully as they turned away, but you said it true. Which is better, and more rare."