Quotessence
Home / Topics / Narrators Quotes

Narrators Quotes

Browse 124 quotes about Narrators.

Related topics

Narrators Quotes

“When you meet a dark angel don't you ever for one minute believe they are bad because they have faced the worst demons and lived to guide you through yours. It really isn't an easy job they have been asked to do, but then neither was standing on the front line during the war in heaven.”

“And [Moby Dick's narrator] is so very smart, so very smart indeed, and so gifted with words, so very gifted, that at the right time he'll make you forget his presence, just to signal, at a certain point, that he was there all the time: and that he is actually you, a narrator to the troubled but no less amusing, and beautiful, human existence.”

“The text moves like a small crustacean with compound eye and complex nervous system; throbbing, involuted, it becomes a parasite on a different body, animal, using ‘filiform protrusions through which it sucks the vital juices of its host.’ Parasite or creature in mutation on the shore, torrid / delirium: mordant mortality, systematic competition the narrator against the I, leaking gas, a lapse of memory against a promise, an inset in a book. A muscular, involuntary bulging in the breast, circling all its inner surface: mesoblast: visceral.”

“I had this story from one who had no business to tell it to me, or to any other. I may credit the seductive influence of an old vintage upon the narrator for the beginning of it, and my own skeptical incredulity during the days that followed for the balance of the strange tale.”

“These types of films that are psychologically sort of dark at times, I find extremely exciting to do because there's always something to think about. There's nothing more boring than to show up on set and say a line and know that your character means exactly what they say. It's interesting to have an unreliable narrator in a film and that's what both of those films have been.”

“To what or whom does Lizzie Harris direct the imperative title of her startling first book, Stop Wanting? To the reader, the narrator, to desire itself, or to lack? This is a work of complexly, ambiguously layered narratives and identities. The opening poem asserts I want to say what happened / but am suspicious of stories. These lines become an ars poetica for the whole of this painful and exceptional collection in which the unspeakable is stubbornly confronted by a searing eloquence. This is a commanding debut.”

“Every Day Is for the Thief is a vivid, episodic evocation of the truism that you can't go home again; but that doesn't mean you're not free to try. A return to his native Nigeria plunges Cole's charming narrator into a tempest of chaos, contradiction, and kinship in a place both endearingly familiar and unnervingly strange. The result is a tale that engages and disturbs.”

“The designation of the locality in one excludes the appearances narrated by the rest; the determination of time in another leaves no space for the narratives of his fellow-evangelists; the enumeration of a third is given without any regard to the events reported by his predecessors; lastly, among several appearances recounted by various narrators, each claims to be the last, and yet has nothing in common with the others. Hence nothing but wilful blindness can prevent the perception that no one of the narrators knew and presupposed what another records.”

“Philip Galanes has fashioned a novel both bleak and funny about a young man's struggle to sort out his troubled love: the too-strong love for his mother, the too-weak love for his suicidal father, and the all-consuming love of anonymous sexual encounters. Pointed and acute, this story tells of the narrator's many betrayals of others and their many betrayals of him. It exists in an uncomfortable moral space where the humor of terrible things sometimes outweighs, but never obscures, their poignancy.”

“Usually when I finish the draft of a book, I'm sure I'll never write another one. I'm just that tired and sick of myself. But then another idea starts percolating. It usually begins with the narrator's name, then some idea that intrigues me about her life or situation. I try to ignore it as long as I can, because I know when I start writing, I'll be right back into it, every single day. But eventually, I just have to. It's a compulsion!”

“I learned capacity for self-reflection very early, finding it through interior monologues that books are so good at and that visual media is so bad at because it's so boring - nothing's happening. In a book, you can be inside the narrator's head for 50 pages, and nothing needs to happen. Then you learn to be inside your own head without something needing to happen. It's a very good antidote to a crazy, restless, "what's next?" culture - that you can just be in your own head and nothing is happening except that this is a rich place. I love that.”

“You can do everything differently in a novel. Hero narrates the novel; we're in his head. You're hearing all his thought processes and you're hearing him call himself out on his bad behavior. You don't have the benefit of that narrator in a movie. What you see a character do, very often, becomes that much more important because you don't have him editorializing it for you.”

“Early on, I settled on the first-person strategy as a way to deal with exposition and world-description issues. As long as the book is, it could have been far longer had I gone with an omniscient third-person narrator, or multiple point-of-view characters, since either of those would have enabled me to impart much more detailed information about the history and geography of the world.”

“I was taken in the Spirit to the burning bush on Mount Horeb, Moses' "first ascension," and allowed to witness the encounter he had with the Lord there. Throughout the visitation, I was enabled to know and feel the thoughts and emotions of Moses' inner being. ... There was a Holy Narrator beside me who helped me understand what I saw and heard, and he made references to relevant passages of Scripture. There were other Biblical figures also present - Joshua, Samuel, David, and even the Lord Jesus were there.”

“I didn't set out to write a book with no real male characters, but men were not important to my narrator, who was much more interested in maternal and pseudo-maternal love, so they were unimportant to me. I didn't even notice the lack of men in the story until I finished it. But once I did notice it, I was kind of delighted. Apparently, my subconscious is totally sexist.”