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Novel Quotes

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Novel Quotes

“Sometime during the 1990s, when I was teaching philosophy at UCSD, my friend, colleague, and music teacher, Carol Plantamura, discussed the possibility of teaching a course together looking at ways in which various literary works (plays, stories, novels) had been treated as operas, and how different themes emerged in the opera and in its original. One of the pairings we planned to use was Mann's great novella and Britten's opera. Unfortunately, the course was never taught, but the idea remained with me.”

“I wouldn't have thought that the techniques of story-telling, which is what the novel is after all, can vary much because there are two things involved.There's a story and there's a listener, whose attention you have to keep. Now the only way in which you can keep a reader's attention to a story is in his wanting to know what is going to happen next. This puts a fairly close restriction on the method you must use.”

“When you take a child who's hollering like hell, sit him on your knee, and say "once upon a time", you stop him hollering. As long as you go on telling him a story, he will listen. Novelists who neglect this fundamental effect do so at their peril. They become what is known as the experimental novelist, and an experimental novel is not really a novel at all.”

“Experimental novels are sometimes terribly clever and very seldom read. But the story that appeals to the child sitting on your knee is the one that satisfies the curiosity we all have about what happened then, and then, and then. This is the final restriction put on the technique of telling a story. A basic thing called story is built into the human condition. It's what we are; it's something to which we react.”

“Maybe, just maybe, there should be a graphic novel dealing with the contribution of the women of the civil rights movement, to tell their story. The pain, the hurt. They raised their children. Some were working as maids, but when they left those kitchens, those homes, they made it to the mass meetings. And they put their bodies on the lines, also.”

“If a novel is written in a certain language with certain characters from a particular community and the story is very good or illuminating, then that work is translated into the language of another community - then they begin to see through their language that the problems described there are the same as the problems they are having. They can identify with characters from another language group.”

“Even my novels offer passages in which the major character is imagined as a writer. In Joss and Gold, Li An is a business writer who edits her company's weekly public relations magazine. And in Sister Swing, Suyin writes human interest stories for a free, local community paper, The Asian Time.”