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“What le Carré is so good at is unpicking something very specific about Englishness. That is almost part of why I think he wrote the novel. You can feel le Carré's anger that someone who has had the benefits of an English education and an English upbringing is using that privilege to basically do the worst things imaginable. There is an anger in the book about that.”

“I'm grateful for the likes of Kundera, Murnane, Markson, Berger, and, in his recent work, Coetzee. But no matter how celebrated they are, critics still consider them askance. Elizabeth Costello, for example, is a great novel, but it got quite a critical panning when it was published. The complaint was that it was simply a book of speeches, without the machinery of conventional fiction. Markson's books are compilations of facts and alleged facts, very artfully.”

“But strangely, [in] the original Matt Helm books, he's just this super hardass assassin. They sort of made it into a sexy romp for the movies. The books are very, very dark. I also watched 'OSS 117: Cairo, Nest Of Spies,' which is a French film. They just made a second one, I think, which is based on like, 100 novels. They're just fantastic. They're set in the '60s. A lot of the visual inspiration definitely came from 1960 James Bond movies and 'OSS 177' and also 'Pink Panther' movies.”

“In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).”

“I'm not entirely sure what a historical novel absolutely has to be, but you don't want a reader who loves a very traditional historical novel to go in with the expectation that this is going to deliver the same kind of reading experience. I think what's contemporary about my book has something to do with how condensed things are.”

“I loved reading historical novels when I was young, but I definitely don't think I wrote one. When I read my book through, when it was completely done and in printed galleys, I was surprised by how uninterested in the passage of time and history the book seemed to be. Even though you can feel it all there, that's just not what it's focused on.”

“I'm working on different fields. One of my next books Insha'Allah will be a novel because it's important to explore the heart and imagination, the spiritual side. I've been working for twenty five years in the legal field and now I'm reaching what I want, which is an Islamic applied ethics and I'm also dealing with Muslims in the West.”

“It's actually not very hard to re-set between the adult novels and the ones for younger readers. The narrative voices are very similar, the smartass attitude, the environmental battles. Kids love books that are irreverent and challenge authority, when authority is arbitrary, greedy or foolish. They also love it when you make fun of grownups, and I've spent my whole life as a writer doing that.”

“When I was fifteen I wrote seven hundred pages of an incredibly bad novel - it's a very funny book I still like a lot. Then, when I was nineteen I wrote a couple hundred pages of another novel, which wasn't very good either. I was still determined to be a writer. And since I was a writer, and here I was twenty-nine years old and I wasn't a very good poet and I wasn't a very good novelist, I thought I would try writing a play, which seems to have worked out a little better.”

“One of the things that's exciting for me about this novel is that, to me, Brookland and The Testament of Yves Gundron were both, in certain regards, crypto-steampunk. They're both books that are interested in an alternate technological past that in fact didn't historically come to pass. If you were to ask me what my novels were about, I would say, well, these are novels about technology and how we relate to technology and what technology means.”