Zitat des Tages von Colm Toibin:
History is a way of interpreting, rather than, say, knowing, the past. It is usually a set of disputes between those who have access to the same sources. It depends on ideology as much as voting in an election does.
John McGovern taught me that it's OK to write repeatedly about the same things.
People's interest in glamour and clothes and nylon stockings and all those things were, when I was a little boy, the sort of world that I listened to.
The only routine I have is that I finish everything I start. I wake up early every day - about 6.30 A.M. - but I do not work every day. I could laze for a day or two, but I wouldn't do it for three.
I write with a sort of grim determination to deal with things that are hidden and difficult, and this means, I think, that pleasure is out of the question. I would associate this with narcissism anyway, and I would disapprove of it.
While historians may go on attempting grand, sweeping and defining narratives, they work in a time when readers know that another narrative always lies in wait, and that the more intelligent an historian is, the more tentative and self-scrutinizing the tone.
Life has a funny way of becoming ordinary as soon as it can.
I have to write a first draft with a fountain pen before I type it up as a second.
Everyone who's in America spends the first few years not experiencing it. The person is frightened by the newness of the place and doesn't see things. Her emotional universe becomes the entire universe. And then when she thinks of home, her distance in space can seem like a distance in time.
The sentences I write have their roots in song and poetry, and take their bearings from music and painting, as much as from the need to impart mere information, or mirror anything. I am not a realist writer, even if I seem like one.
I think fiction lends itself to messiness rather than the ideal, and plays well with the ironies surrounding what happens versus what should happen.
I still have a stammer that I can control by not opening a sentence with a hard consonant, or by concentrating for a moment, breathing softly down. Growing up, the 'Our Father' was lovely, made for me, the 'Hail Mary' was gorgeous, and 'Glory Be to the Father' was an absolute nightmare.
My first novel was turned down by about twenty publishers over a period of two and a half years. Because my name is Irish and would not be familiar to English editors, one of them said: 'If she writes anything else, do let us know.' Slowly, very slowly, the books began to sell and be noticed.
When a book comes from the publisher and you see it for the first time... Of course it's not remotely like seeing a baby for the first time, but I can remember with each book what room I was in when I opened it. That would be excitement, though, I think. Not pride.
I am violently untidy. My desk is overcrowded. I write my first drafts in longhand in a long notebook using a plastic throwaway fountain pen. Then I work on a word processor using a different desk and a different room.
Describe character using dialogue. Describe character using what the characters see or do or think, but not what they had done or where they had been.
I lived in the Republic of Ireland. I wrote a book about the North but as an outsider. The hatreds there were not mine. I never felt them. I liked how open in most ways Catalan nationalism was, compared to Irish nationalism. I disliked the violence and cruelty in Ireland.
I think the whole business of people emigrating was that no one ever told them, although everyone knew, especially if it was to the United States, that it was forever, and the party before you left was called an 'American wake,' in the sense that they knew you wouldn't come back.
It really matters to writers to find and treasure readers, all the more when they're on the other side of the world.
'One Minus One' and 'Barcelona, 1975' are more or less autobiographical.
People love talking about writers as storytellers, but I hate being called that: it suggests I got it from my grandmother or something, when my writing really comes out of silence. If a storyteller came up to me, I'd run away.
Writing tends to be very deliberate. A novelist could probably run a military campaign with some success. They could certainly run a country.
I did think of becoming a priest quite late on, when other boys were thinking of knocking over fences and going out with girls. I would have made a very good bishop: nice housekeeper, nice clothes - god, the clothes.
Look at Austen. In her novels, you get a dance, followed by an encounter, followed by a letter, then a period of solitude. No flashbacks and no backstory. Let's have no more back story!
I wrote every day between the ages of 12 and 20 when I stopped because I went to Barcelona, where life was too exciting to write.
The next time I write a play - in order to get audience trust for a particular sort of tragic line, I'll try to bring the audience a good distance before that. Part of that is allowing comic moments to occur. I had been afraid of that - that once the audience started laughing in the play, they would never stop.
Three of my novels and a good number of my short stories are told from the point of view of men. I was brought up in a house of women.
