Zitat des Tages von Lev Grossman:
Supposedly I've got traces of an English accent, though I can't hear it. I must have inherited it from my mother, who's English, and then I think it was exacerbated by the fact that I live with an Australian.
What surprised me about 'The Casual Vacancy' was not just how good it was, but the particular way in which it was good.
I used to write in a local coffee shop, but there was another guy, another writer, who kept sitting in my favorite seat. I would show up, and he would be there, and I would get exiled to a couch or something, and it would throw me off my game.
My specialty as a collector is books that almost have value. When I love a book, I don't buy the first edition, because those have become incredibly expensive. But I might buy a beat-up copy of the second edition, third printing, which looks almost exactly the same as the first edition except that a couple of typos have been fixed.
Hating a book is not unlike hating a person; in fact it's tempting to just go ahead and hate the author personally, by proxy, qua human being, except that I know that would be a mistake.
I've drunk Amazon's free Diet Coke. Nothing makes more sense to me than a company trying to make bookselling into a profitable business. I'm not anti-Amazon, and I'm not pro-publishers either. I'm pro-books.
I have spent many, many hours reading J.K. Rowling's work. I am a known 'Harry Potter' fan.
Even though I have spent literally years of my life trying to learn another language, any other language - and even though I have in the past claimed in several key professional contexts that I speak other languages - I am in fact still trapped inside the bubble of English.
How often have I met and disliked writers whose books I love; and conversely, hated the books and then wound up liking the writer? Too often.
One already feels like an anachronism, writing novels in the age of what-ever-this-is-the-age-of, but touring to promote them feels doubly anachronistic. The marketplace is showing an increasing intolerance for the time-honored practice of printing information on paper and shipping it around the country.
Which is the healthier kind of literary diversity: an un-gate-kept self-published book world, run substantially through Amazon? Or our current book world, which is part-gate-kept, part-not, with many different publishers and retailers and platforms? I'm not smart enough to figure it out, but if I had to guess I'd guess the latter.
I read a lot of literary theory when I was in graduate school, especially about novels, and the best book I ever read about endings was Peter Brooks' 'Reading for the Plot. '
I've read plenty of J.G. Ballard, but I'm not really a Ballardian. I've met Ballardians, and I know when I can't compete. I like Ballard in his relatively unchallenging apocalyptic mode: 'Vermilion Sands,' 'The Drowned World,' 'The Burning World,' 'The Crystal World.'
When I left college I thought - based on a staggeringly inadequate understanding of how the world worked - that I might like to go into book publishing.
People - me included - want to get excited about books. Good books are a good thing.
It's no longer possible to simply build English country houses out of words, because they've already been so thoroughly described that all the applicable words have been used up, and one is forced to build them instead out of words recycled and scavenged from other descriptions of other country houses.
It's natural for a child to assume that his or her own childhood is unremarkable.
It's a terrible thing for a book, when you feel like you're supposed to like it.
Book tours are excellent things, and one is lucky to get to go on one, but they have a way of leeching away one's will to live.
There's a special gut-check moment the first time you write a scene in which somebody casts a spell.
And I'm not as young as I once was. At my age, I don't have time to be bored.
I love rare books. Not that I own a lot of them, mind you. You couldn't quite call me a rare-book collector. But I did once work in a rare-books library, and I wrote a novel about a rare book.
The paradox of the English country house is that its state of permanent decline, the fact that its heyday is always behind it, is part of the seduction, just as it is part of the seduction of books in general.
I ought to at least be able to read literature in French. I went to an enlightened grade school that started us on French in fifth grade, which meant that by the time I graduated high school I had been at it for eight years.
When it comes to true humility in the face of history, nothing beats complete silence.