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Anthropological fieldwork is so much like writing a novel. You don't know what the hell is going on.
It is better to live presently. By living thus, perhaps we can learn to understand the nature of this fragile coexistence we share with the world around us.
When I was young, I knew William Burroughs really well. And William's secret desire, which he never quite did, was to write a straightforward detective novel.
Personally, I do not believe that it is the duty of any man or woman to write a novel. In nine cases out of ten, there would be greater merit in leaving it unwritten.
I belong to the middle class that grew up very influenced by the Catholic church. The people of the novel are from a more pagan and practical world in which the Christianity is just a veneer.
My objectives are very limited. I want to do the best I can with the talent God gave me. I hope to goodness that every novel I do gets better and better, not worse and worse.
Keep on the lookout for novel ideas that others have used successfully. Your idea has to be original only in its adaptation to the problem you're working on.
My thoughts went round and round and it occurred to me that if I ever wrote a novel it would be of the 'stream of consciousness' type and deal with an hour in the life of a woman at the sink.
I wrote a novel about Israelis who live their own lives on the slope of a volcano. Near a volcano one still falls in love, one still gets jealous, one still wants a promotion, one still gossips.
Reading a novel is just a much more involving and intimate experience than the act of watching a film. I mean, you literally get inside of a novelist's head, and you invest many hours to do so.
The fundamental purpose of a novel like Count Julian is to achieve the unity of object and means of representation, the fusion of treason as scheme and treason as language.
Travelers learn not just foreign customs and curious cuisines and unfamiliar beliefs and novel forms of government. They learn, if they are lucky, humility.
My first film goes into production in October. It's called White Boy Shuffle and it's based on a novel about a young black kid and it's sort of reminiscent of Catcher in the Rye.
It's my contention that each book creates its own structure and its own length. I've written three or four slim books. It may be that the next novel is a big one, but I don't know.
Here was a fragment of Goddess myth that, through all its permutations, had somehow escaped being turned on its head. It was the perfect springboard for the sort of novel I wanted to write.
San Francisco itself is art, above all literary art. Every block is a short story, every hill a novel. Every home a poem, every dweller within immortal. That is the whole truth.