Zitat des Tages von Ian Mcewan:
Perhaps the greatest reading pleasure has an element of self-annihilation. To be so engrossed that you barely know you exist.
What I've discovered and really confirmed to myself is that opera really likes loud colours, and you need something bold, something savage, unpredictable, passionate. You can't really run a two-hour opera round some muted murmuring.
As regards literary culture, it fascinates me that it has been so resilient to the Union. For example, when T.S. Eliot wanted to become poet in these lands, it wasn't as an English poet, it was an Anglian poet he wanted to be.
It's good to get your hands dirty a bit and to test how you see things at a given point. And it's very pleasing after writing something like 'Atonement' or 'On Chesil Beach,' which are historical, to get involved in some plausible re-enactment of the here and now.
I often don't read reviews.
My father's drinking was sometimes a problem. And a great deal went unspoken. He was not particularly acute or articulate about the emotions. But he was very affectionate towards me.
I was an intimate sort of child who never spoke up in groups. I preferred close friends.
By concentrating on what is good in people, by appealing to their idealism and their sense of justice, and by asking them to put their faith in the future, socialists put themselves at a severe disadvantage.
At the risk of sounding like Virginia Woolf, I could live on £700 a year.
Politics is the enemy of the imagination.
A twenty-one-year-old writer is likely to be inhibited by a lack of usable experience. Childhood and adolescence were something I knew.
You enter a state of controlled passivity, you relax your grip and accept that even if your declared intention is to justify the ways of God to man, you might end up interesting your readers rather more in Satan.
I'm quite good at not writing.
One has to have the courage of one's pessimism.
In my experience an appreciative letter from a fellow writer means a lot.
True intelligence requires fabulous imagination.
The moment you have children and a mortgage you want things to work; you're locked into the human project and you want it to flourish.
Reading reviews makes you thin-skinned. It's like waves washing layers off your skin.
It is not the first duty of the novelist to provide blueprints for insurrection, or uplifting tales of successful resistance for the benefit of the opposition. The naming of what is there is what is important.
I actually find novels that are determined to be funny at every turn quite oppressive.
When I began I thought that literature was contained within a bubble that somehow floated above the world commented upon by newspapers. But I became more and more interested in trying to include some of that world within my work.
Something is missing in our culture. We can't quite celebrate the scientific literary tradition.
One important theme is the extent to which one can ever correct an error, especially outside any frame of religious forgiveness. All of us have done something we regret - how we manage to remove that from our conscience, or whether that's even possible, interested me.
The best way to tell people about climate change is through non-fiction. There's a vast literature of outstanding writing on the subject.
Now, I'm an atheist. I really don't believe for a moment that our moral sense comes from a god.
I apologize for being obvious, but every time I watch the curtain come down on even a halfway decent production of a Shakespeare play I feel a little sorrowful that I'll never know the man, or any man of such warm intelligence.
The end of secrecy would be the end of the novel - especially the English novel. The English novel requires social secrecy, personal secrecy.