Zitat des Tages von Alice Munro:
I got interested in reading very early, because a story was read to me, by Hans Christian Andersen, which was 'The Little Mermaid,' and I don't know if you remember 'The Little Mermaid,' but it's dreadfully sad. The little mermaid falls in love with this prince, but she cannot marry him because she is a mermaid.
Writers are always writing about infidelity. It's so dramatic. The wickedness of it, the secrecy, the complications, the finding that you thought you were one person but you're also this other person. The innocent life and the guilty life. My God, it's just full of stuff for a writer. I doubt it will ever go out of fashion.
The stories are not autobiographical, but they're personal in that way. I seem to know only the things that I've learned. Probably some things through observation, but what I feel I know surely is personal.
In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.
Some of the stories I admire seem to zero in on one particular time and place. There isn't a rule about this. But there's a tidy sense about many stories I read. In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.
I read all the time, and I'm often struck by something I'm reading.
In twenty years I've never had a day when I didn't have to think about someone else's needs. And this means the writing has to be fitted around it.
I have never kept diaries. I just remember a lot and am more self-centered than most people.
The complexity of things - the things within things - just seems to be endless. I mean nothing is easy, nothing is simple.
'The New Yorker' was really my first experience with serious editing. Previously, I'd more or less just had copyediting with a few suggestions - not much.
Sometimes I get the start of a story from a memory, an anecdote, but that gets lost and is usually unrecognizable in the final story.
I like gaps; all my stories have gaps. It seems this is the way people's lives present themselves.
That's something I think is growing on me as I get older: happy endings.
I want the reader to feel something is astonishing - not the 'what happens' but the way everything happens. These long short story fictions do that best, for me.
I've lived in a big showplace house, and I never want to live again in a house that overshadows me.
'Royal Beatings' was my first story, and it was published in 1977. But I sent all my early stories to 'The New Yorker' in the 1950s, and then I stopped sending for a long time and sent only to magazines in Canada. 'The New Yorker' sent me nice notes, though - penciled, informal messages. They never signed them. They weren't terribly encouraging.
It's not possible to advise a young writer because every young writer is so different. You might say, 'Read,' but a writer can read too much and be paralyzed. Or, 'Don't read, don't think, just write,' and the result could be a mountain of drivel.
Housework never really bothered me... what bothered me about it later was that it was expected to be your life... when you're a housewife, you are constantly interrupted. You have no space in your life. It isn't the fact that you do the laundry.
I no longer feel attracted to the well-made novel. I want to write the story that will zero in and give you intense, but not connected, moments of experience. I guess that's the way I see life. People remake themselves bit by bit and do things they don't understand.
Memory is the way we keep telling ourselves our stories - and telling other people a somewhat different version of our stories.
I don't think that much about my relationship with my mother and what it did to me. I sometimes feel terrible regret about her, what her life must have been like. Often, when I'm enjoying something, I think of how meager her rewards were and how much courage, in a way, she needed to go on living.
Time is something that interests me a whole lot - past and present, and how the past appears as people change.
I feel that I've done what I wanted to do, and that makes me feel fairly content.
I can't play bridge. I don't play tennis. All those things that people learn, and I admire, there hasn't seemed time for. But what there is time for is looking out the window.
I was a housewife, so I learned to write in times off, and I don't think I ever gave it up, though there were times when I was very discouraged because I began to see that the stories I was writing were not very good, that I had a lot to learn, and that it was a much, much harder job than I had expected.