novels

The Cool Stuff Theory of Literature is as follows: All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what's cool. And that works all the way from the external trappings to the level of metaphor, subtext, and the way one uses words. In other words, I happen not to think that full-plate armor and great big honking greatswords are cool. I don't like 'em. I like cloaks and rapiers. So I write stories with a lot of cloaks and rapiers in 'em, 'cause that's cool. Guys who like military hardware, who think advanced military hardware is cool, are not gonna jump all over my books, because they have other ideas about what's cool.The novel should be understood as a structure built to accommodate the greatest possible amount of cool stuff.

Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.

A group of ten prisoners from Dachau, I was with them, we hid in the forest to wait for the Americans. The Germans had already left everything behind. We had food but no weapons. For days we could hear bombs exploding around us. We just wanted to survive long enough for the Americans to control the territory. We didn__ want to die. At that point, our prison uniforms were the only things to keep us from being shot on the spot by the Americans. That was all we had. Who would the Americans believe? Real prisoners or guards dressed as prisoners? Those devils might even say we were the Germans. This was our nightmare.

People are never satisfied. If they have a little, they want more. If they have a lot, they want still more. Once they have more, they wish they could be happy with little, but are incapable of making the slightest effort in that direction.

Books have power to bring you glory or doom, it all depends on perception.

I am very careful about who I choose to build memories with. Some of them might last a lifetime.

People are never satisfied. If they have a little, they want more. If they have a lot, they want still more. Once they have more, they wish they could be happy with little, but are incapableof making the slightes effort in that direction.

A novel must be judged on its merits, not on how hard the journey was to write it.

A good book is not the same as a successful one.

The literary experience extends impression into discourse. It flowers to thought with nouns, verbs, objects. It thinks. Film implodes discourse, it deliterates thought, it shrinks it to the compacted meaning of the preverbal impression or intuition or understanding. You receive what you see, you don't have to think it out. . . . Fiction goes everywhere, inside, outside, it stops, it goes, its action can be mental. Nor is it time-driven. Film is time-driven, it never ruminates, it shows the outside of life, it shows behavior. It tends to the simplest moral reasoning. Films out of Hollywood are linear. The narrative simplification of complex morally consequential reality is always the drift of a film inspired by a book. Novels can do anything in the dark horrors of consciousness. Films do close-ups, car drive-ups, places, chases and explosions.

The stories we read in books, what's presented to us as being interesting - they have very little to do with real life as it's lived today. I'm not talking about straight-up escapism, your vampires, serial killers, codes hidden in paintings, and so on. I mean so-called serious literature. A boy goes hunting with his emotionally volatile father, a bereaved woman befriends an asylum seeker, a composer with a rare neurological disorder walks around New York, thinking about the nature of art. People looking back over their lives, people having revelations, people discovering meaning. Meaning, that's the big thing. The way these books have it, you trip over a rock you'll find some hidden meaning waiting there. Everyone's constantly on the verge of some soul-shaking transformation. And it's - if you'll forgive my language - it's bullshit. Modern people live in a state of distraction. They go from one distraction to the next, and that's how they like it. They don't transform, they don't stop to smell the roses, they don't sit around recollecting long passages of their childhood - Jesus, I can hardly remember what I was doing two days ago. My point is, people aren't waiting to be restored to some ineffable moment. They're not looking for meaning. That whole idea of the novel - that's finished.

I__e only been to jail a few times, but in several different countries, at that. No, I've only been to jail a few times. But I still claim the ability to write a "serious" novel.

There is much to discover that's not on the back cover!

As it is I'm a dated novelist, whom hardly anybody reads, or if they do, most of them don't understand what I am on about. Certainly I wish I had never written Voss, which is going to be everybody's albatross.

The clock ticks; the taunting rhythm serving as a reminder that forward is the only way we can go. The mechanical heartbeat of the darkness, a cold ellipsis, punctuating years gone by. Arising unchained.No glorious hymn, just the steady beat of the illusion of time. We heal or we carry forward the weight of our wounds... To believe otherwise is the mendacity of desperation. Arising honestly. The miles behind are littered with the weight of nostalgia, but too many miles lay ahead us to carry the weight. In the end, even echoes fade away. Pen in hand...Arising to write the next chapter.(MU Articles 2013, Dedication to Joey)

The novel was set in an unspecified near future, because setting a novel in the present in a time of unprecedented technological and social dislocation seemed to me shortsighted.... To write a book set in the present, circa 2013, is to write about the distant past.

The show must go on, and so must The Book.

It's easy to want to be an author. You see it in your mind with sun streaming through windows and a Siamese cat purring on an antique rug and a little pellet stove and somehow the bills are paid and there's wit and self-sufficiency and divine inspiration seeping through walls and pores. And then, in your mind, you skip ahead to a book launch party and more Siamese cats.When you graduate from wanting to working, you say, "I am going to flesh out this idea and write the whole thing down, and rewrite it, and rewrite it again, and rewrite it unendingly, and I'll have no real assurance of when it'll be good enough, but at some point I'll pitch it to someone who will decide if I'm delusional or not." The optimism and the ego-bruising, unsexy work needed to follow through feels unending.