I mean, every novel's a historical novel anyway. But calling something a historical novel seems to put mittens on it, right? It puts manners on it. And you don't want your novels to be mannered.
Colum MccannRead
The contemporary American novelist benefits in a way from being ignored. It makes you angrier and makes you want to go into all of those places where you shouldn't.
Interpretation
Being overlooked can fuel a writer's passion and drive for exploration and expression.
Colum McCann suggests that contemporary American novelists often find themselves in a position where their work goes unnoticed, which can ignite a sense of anger and rebellion within them. This overlooked state encourages them to delve into unconventional themes and places in their writing, pushing the boundaries of their creativity and exploration.
In practice
This quote could be used in a speech about the struggles of modern authors at a literary festival.
I mean, every novel's a historical novel anyway. But calling something a historical novel seems to put mittens on it, right? It puts manners on it. And you don't want your novels to be mannered.
Goodness was more difficult than evil. Evil men knew that more than good men. That's why they became evil. That's why it stuck with them. Evil was for those who could never reach the truth. It was a mask for stupidity and lack of love. Even if people laughed at the notion of goodness, if they found it sentimental, or nostalgic, it didn't matter -- it was none of those things, he said, and it had to be fought for.
She takes another long haul, lets the smoke settle in her lungs-- she has heard somewhere that cigarettes are good for grief. One long drag and you forget how to cry. The body too busy dealing with the poison.
It was a silence that heard itself, awful and beautiful.
It struck me that distant cities are designed precisely so you can know where you came from.
And I suddenly think, as I look across the table at him, that these are the days as they will be. This is the future as we see it. The swerve and the static. The confidence and the doubt.
I've been writing poems since I was in the Navy - to Rosalynn. I found I could say things in poems that I never could in prose. Deeper, more personal things. I could write a poem about my mother that I could never tell my mother. Or feelings about being on a submarine that I would have been too embarrassed to share with fellow submariners.
When I worked on a magazine, I learned that there are many, many writers writing that can't write at all; and they keep on writing all the cliches and bromides and 1890 plots, and poems about Spring and poems about Love, and poems they think are modern because they are done in slang or staccato style, or written with all the 'i's' small.
I'm not a politician because I'm an artist. Politicians have a very easy answer for a very complicated question. I have a very complicated question for what you consider very easy situations.
Sometimes photographers mistake emotion for what makes a great street photograph.
I don't really trust ideas - especially good ones... Rather, I put my trust in the materials that confront me, because they put me in touch with the unknown.
If one means by style the voice, the irreducible and always recognizable and alive thing, then of course style is really everything.
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