Historical Novelists

"It is a dual thing – you belong and you don’t. I remember the Ghanaian passport official reading my name correctly and it felt like the biggest, warmest welcome. At the same time, I understand my native language but don’t speak it. So I am necessarily at this remove – the country can never be fully mine."

"I was devastated. I felt immense rage. The dungeons still smell after hundreds of years. There was grime on the walls and a tiny air hole at the top. When they closed the door, there was no light. Hundreds of people were kept there for three months at a time before being sent God knew where. The terror they must have felt – not knowing what was to become of them. You can imagine and you cannot possibly imagine."

"(What’s the last great book you read?) ...The last great one I read was Yaa Gyasi’s “Homegoing,” a fascinating novel about the legacy of the slave trade on both sides of the Atlantic."

"This is the problem of history. We cannot know that which we were not there to see and hear and experience for ourselves. We must rely upon the words of others."

"This is the problem of history. We cannot know that which we were not there to see and hear and experience for ourselves. We must rely upon the words of others. Those who were there in the olden days, they told stories to the children so that the children would know, so that the children could tell stories to their children. And so on, and so on."

"You cannot stick a knife in a goat and then say, "now I will remove my knife slowly - so let things be easy and clean; let there be no mess." There will always be blood."

"Evil begets evil. It grows. It transmutes, so that sometimes you cannot see that the evil in the world began as the evil in your own home. I"

"You want to know what weakness is? Weakness is treating someone as though they belong to you. Strength is knowing that everyone belongs to themselves."

"We believe the one who has power. He is the one who gets to write the story. So when you study history, you must ask yourself, Whose story am I missing? Whose voice was suppressed so that this voice could come forth? Once you have figured that out, you must find that story too. From there you get a clearer, yet still imperfect, picture."

"The need to call this thing “good” and this thing “bad,” this thing “white” and this thing “black,” was an impulse that Effia did not understand. In her village, everything was everything. Everything bore the weight of everything else."

"If we go to the white man for school, we will learn the way the white man wants us to learn. We will come back and build the country the white man wants us to build. One that continues to serve them. We will never be free."

"There should be no room in your life for regret. If in the moment of doing you felt clarity, you felt certainty, then why feel regret later?” She"

"Last night I dreamt I went to Manderley again."

"There were no dark trees here, no tangled undergrowth, but on either side of the narrow path stood azaleas and rhododendrons, not blood-coloured like the giants in the drive, but salmon, white, and gold, things of beauty and of grace, drooping their lovely, delicate heads in the soft summer rain.The air was full of their scent, sweet and heady, and it seemed to me as though their very essence had mingled with the running waters of the stream, and become one with the falling rain and the dank rich moss beneath our feet. There was no sound here but the tumbling of the little stream, and the quiet rain."

"I had no expectations. I thought, “If I don’t make it, it’s my own fault.” In China I had to suffer and labour for the Communist Party – here I was given the opportunity to suffer and labour for myself and to build my own life. I chose to look at the glass half full – I think that’s a very immigrant attitude."

"The seed of the story [Rebecca] lay in du Maurier’s jealousy of Jan Ricardo, the first fiancée of her husband. "I know that she came across one or two letters or cards, fairly sort of harmless things, where Jan did sign 'Jan Ricardo' with this wonderful great R," says Browning, flourishing his hand in the air. It is a portentous curlicue that is emulated in the book."

"I write about the black experience, because it's what I know. But I'm always talking about the human condition, what human beings feel and how we feel. Given these circumstances, a human being will react this way: he'll be happy, will weep, will celebrate, will fall. So my books are popular in Asia, in Africa, in Europe. Why would I, a black girl in the South, fall in love with Tolstoy or Dickens? I was Danton and Madame Defarge and all those people in A Tale of Two Cities. I was Daphne du Maurier and the Brontë sisters in a town where blacks were not allowed to cross the street. I was educated by those writers. Not about themselves and their people, but about me, what I could hope for."

"In all of my historical novels (from Becoming Madame Mao to Empress Orchid and The Last Empress to Pearl of China) I have tried to be as accurate as possible because accuracy gives my historical themes weight. But some have been more literally true than others. The advantage of being a novelist is having the freedom to go directly after the truth of the human heart…"

"I cultivate my Chinese garden in the middle of an American town…I love China with all my heart and soul, although I feel fortunate to have escaped it."

"Dialogue is always tricky. Authenticity is almost impossible, and you always end up sounding too olde worlde. What I do is to strip the words back, so I get the dialogue to sound timeless…"

"I live with them for a long time in my head. When I first start writing about a character, I don’t know them that well. It’s through the process of writing of putting them in scenes, and contemplating them—when I’ve spent more time with them—that they take on more flesh. When I start writing, I have a lot of characters that I’m not sure what their place in the novel will be…And some characters recede as I put more flesh on them. I think I don’t really need them; they’re not giving me anything. Or they’re there for a particular effect, and that’s it."

"There are times when I'm hoping the reader will feel slightly sympathetic. She's in a marriage she should never have made and she's kind of stuck in this swamp. And she is, yes, self-centered and a terrible mother; but she also is misunderstood, I think, at times, and frustrated..."

"I have huge respect for short stories—I just find them much harder to get right than a novel. A novel is a lot baggier and it gives you more leeway to go on for too long or to make mistakes. Whereas in a short story, every sentence, every word, matters—and that’s very hard. I think it’s easier to write too much than it is to write exactly the right thing."

"Usually, I take great pleasure in finding a notebook that’s going to match the subject matter. And this time, for some reason, I was in a hurry. I hadn’t found the right one, I had started my research, and I couldn’t wait for the perfect notebook. So, I just grabbed one that I had. It’s the first time though, and it felt a little sad."

"The Menace, in movie language, and especially among women, means a heart-throb, a lover, someone with wide shoulders and no hips. A Menace does not have long lashes or a profile; he is always ugly, generally with a crooked nose and if possible a scar; his voice is deep; and he does not say much. When he does speak, the scriptwriters give him short, terse snaps of dialogue, phrases like ‘Lady, take care!’, or ‘Break it up!’, or even just ‘Maybe’. The expression on the ugly face has to be dead-pan and give nothing away, so that sudden death or a woman’s passion leaves it unmoved."

"[As a child] I was always pretending to be someone else … historical characters, all those I invented for myself. I act even to this day. It's the old imagination working, a kind of make believe."

"I didn't have to do the research I did for my historical novels, especially Empress Orchid, on which I labored to line up every account/record — investigative journalism, so to speak. The challenge about writing The Cooked Seed as a memoir was the issue of honesty, as how far and how deep was I willing to go to expose, examine, and dissect my life — that included doing autopsies on my flaws and personal failures."

"My novels are what is known as popular and sell very well, but I am not a critic’s favourite, indeed I am generally dismissed with a sneer as a bestseller and not reviewed at all."

"When I decided to write a novel, I had two full time jobs and three children under the age of six, so I don’t want anyone telling me they don’t have time to write a book, but I learned to work in the middle of the night, and I still do that…"

"I was just looking for a time and place in which to set a historical novel because I wanted to practise writing one. I wasn’t going to show it to anyone, let alone get it published, so it didn’t really matter where I set it. I saw this young man in a kilt and thought that was quite fetching, so why not Scotland in the 18th century?"

"First, a good sex scene is about the exchange of emotions, not body fluids. In other words, what’s going on physically is not really important. It’s what’s going on emotionally that’s important. You use the physical attributes or setting, only as a means of anchoring the reader in the moment, but it’s about what’s going on between these two people. And that leads to the second principle, which is that a good sex scene can only happen between two unique and specific people…"

"I was a university professor and all of my degrees were in the biological sciences, so I did know my way around a library. That’s why I decided on historical fiction. It seems easier to look things up than to make them up. If it turned out I had no imagination, I could steal things from the historical record!"

"His batteries north of the swamp open fire on the nearest hill, which will later be assaulted. Batteries eastward, in front of the lake and the knoll where he stands, are rolled forward almost to the transverse road, between willow trees.."

"You Big Swords think you're good riders, good cavalrymen, but you have a long way to go, and you'll never be Mongols."

"An acrobat is lucky to die with the price of a coffin in his pocket."

"Look, children, it's very simple. What's going to happen is this. If you people go forward, we eat bread. If you people retreat, we eat sticks. That is all there is to war. Let no one tell you different."

"At the end of the day you want something. Even if you don't know what it is."

"In China a general's power goes as far as his troops can march in a few days. But from what I know of General Tang, he won't let this insult pass."

"Peasants can fool you They give in like sheep. They run away and hide. They offer their daughters if you'll let them alone. But suddenly one of them does a thing like this [and tries to kill you]."

"In his country and mine, a bridge builder never sells guns. [...] In China would a scholar sell guns?"

"[A young mission worker in Shanghai told him that] China's nothing but a loosely allied group of principalities that establish whatever law there is through force of arms."

"Soldiers get paid sometimes. Bandits have to fend for themselves. But when the warlords don't have the money, their soldier become bandits. [...] Peking's supposed to pay the warlords. I mean, they're official generals, servants of the government , right? Most of them are bandits is what I say."

"Tang is the best soldier in China"

"I said to Missionar same way. I said heads in basket. I said Soldat, bandit same way. I told Missionar."

"[H]is brain, shaped by milleniums of acceptance of authority, has formed the idea that by obeying an order, any order given by someone in authority, he can save his own life, or, perhaps more importantly, somehow protect his ancestors' land."

"You’d know that if you’d studied something useful like engineering instead of, what is it this year, Down With Dead White Males, or whatever they call your artsy-fartsy curriculum."

"At least some of the techniques she’d learned at Valley View still worked. If you talked nonsense long enough and looked like being a major interruption to the day’s work, they would send you on to somebody else. And when they ran out of somebody elses to send you to, the last one would sign whatever it was needed signing just to get you to go away."

"Well, that was interesting. The question she really wanted to ask was, How come you people take all this so seriously? But that wasn’t in the book."

"Savaric never let reality interfere with his assumption that he and his ways were naturally superior to anyone else’s way of doing things and that everybody else in the world was either a dolt or a weakling."

"For once his years of teaching experience stood him in good stead; he was an old hand at sounding knowledgeable while dodging surprise questions from smart-breeched scholars."