Zitat des Tages von Eleanor Catton:
I've had countless reviews sort that have made me cry. It's funny, it doesn't ever get better either; you can't turn your ears off.
My second novel, 'The Luminaries,' is set in the New Zealand gold rushes of the 1860s, though it's not really a historical novel in the conventional sense. So far, I've been describing it as 'an astrological murder mystery.'
'The Luminaries' is such a different book to 'The Rehearsal.' There are only a couple of things that link the two books: there's a certain preoccupation with looking at relationships from the outside, being shut out of human intimacy; and then there's patterning.
You can tell when a writer moves out of a place of struggle and into a place of comfort, and it's always a bad thing.
It seems pretentious to assume that we are not creatures of action. I think often it takes a situation of extreme absurdity, extreme action, to push us to the limits of what our character is, and to change us as people.
Is the prestige conferred by the Man Booker prize for the book or me? I would prefer it on the book and for me to be treated ordinarily.
In researching 'The Luminaries,' I did read quite a lot of 20th-century crime. My favourites out of that were James M. Cain, Dassiell Hammett, Raymond Chandler and Graham Greene and Patricia Highsmith.
I loved 'Middlemarch,' I think that's one of my favourite books of all time, actually.
From the very beginning, I had an ambition for 'The Luminaries': a direction - but not a real idea.
My mum was a children's librarian, so I spent a lot of time in the library. My reading life, because of my mum's work, was evenly split between American, Canadian, Australian and British authors.
A trip to the picture framer's, with a selection of prints, is the most joyous outing I can imagine. I've spent more money on framing than on anything else I own.
I often feel intellectually frustrated when I'm in a position where I'm not moving forward; when I'm not enquiring about something.
I much prefer a plotted novel to a novel that is really conceptual.
I think that, in principle, a workshop is such a beautiful idea - an environment in which writers who are collectively apprenticed to the craft of writing can come together in order to collectively improve.
I would draw a really sharp distinction between creating and producing. I think that they're very different things.
The challenge that I set for myself was to see whether or not plot and structure could coexist, and why it was that we had to always privilege one above the other.
My father is an expatriate American; he fell in love with New Zealand in his youth and never went home.
Money doesn't transform a person - the only thing that can is love.
The books that really made an impact on me were not set in New Zealand. Some were New Zealand novels, but the New Zealandness of them was not what carried me or excited me.
Fiction is supposed to be immersive and supposed to be entertaining and narrative, so structures have to be buried a little bit. If they come foregrounded too much, it stops being fiction and starts being poetry - something more concrete and out of time.
There are so many ways of posturing that people associate with being a writer. They imagine you wearing a beret and drinking only red wine and being full of yourself, and so, for a long time, the way I felt about writing was too private. I felt it too important and didn't want to be teased about it. So I lied about it.
It's very brave going from a position of authority to one where you are an apprentice.
I vote far-left. I am frequently angered by corporate greed and think education ought to be free and teachers paid well.
I have always loved reading books for children and young adults, particularly when those books are mysteries.
My parents took me to the Bronte parsonage in England when I was a teenager. I had a fight with my mum, burst into tears, jumped over a stile and ran out into the moors. It felt very authentic: A moor really is an excellent place to have a temper tantrum.
There are a lot of people of my generation in New Zealand literature, young writers on their first or second books, that I'm just really excited about. There seems to be a big gap between the generation above and us; it seems to be quite radically different in terms of form and approach.
Teaching is a great complement to writing. It's very social and gets you out of your own head. It's also very optimistic. It renews itself every year - it's a renewable resource.
Margaret Atwood was the author who took me out of children's literature and guided me towards adult literature.
I think it's more optimistic about human nature to acknowledge that people are the products of their time but then to see that they have moments of grace and dignity that everybody has.
The nice thing about the zodiac as a system is it is quite comprehensive as a range of impulses and psychological states it can speak about.
I grew up on the South Island of New Zealand, in a city chosen and beloved by my parents for its proximity to the mountains - Christchurch is two hours distant from the worn saddle of Arthur's Pass, the mountain village that was and is my father's spiritual touchstone, his chapel and cathedral in the wild.
We throw at female artists this expectation that their work has to speak to the female experience. And if it doesn't, you're letting the side down. Throwing this stumbling block in the way of female artists is counterintuitive.
The ability of humans to read meaning into patterns is the most defining characteristic we have.
I don't see that my age has anything to do with what is between the covers of my book, any more than the fact that I am right-handed. It's a fact of my biography, but it's uninteresting.
I have written ever since I knew mechanically how to do it.