I don't know if there is a personal identity. We all imagine that we are absolute individuals. But when we begin to look for where this individuality resides, it's very difficult to find.
John BanvilleRead
Most crime fiction, no matter how 'hard-boiled' or bloodily forensic, is essentially sentimental, for most crime writers are disappointed romantics.
Interpretation
Crime fiction often reflects a deeper emotional truth beneath its surface of violence.
John Banville suggests that despite the gritty and violent facade of crime fiction, it often harbors a sentimental core. He posits that many crime writers, while portraying dark and intricate narratives, are fundamentally romantics at heart, yearning for deeper connections and truths amidst the chaos of their stories.
In practice
In a book club discussion about literary themes.
I don't know if there is a personal identity. We all imagine that we are absolute individuals. But when we begin to look for where this individuality resides, it's very difficult to find.
Why does the past seem so magical, so fraught, so luminous? At the time it was just, ugh, another boring bloody day. But, to look back on, it's a day full of miracles and light and extraordinary events. Why is this? What process do we apply to the past, to give it this vividness? I don't know.
Happiness was different in childhood. It was so much then a matter simply of accumulation, of taking things - new experiences, new emotions - and applying them like so many polished tiles to what would someday be the marvellously finished pavilion of the self.
Writing keeps me at my desk, constantly trying to write a perfect sentence. It is a great privilege to make one's living from writing sentences. The sentence is the greatest invention of civilization. To sit all day long assembling these extraordinary strings of words is a marvelous thing. I couldn't ask for anything better. It's as near to godliness as I can get.
I know some of my memories are made up and they are far more powerful than the things that actually happened. For example, I always remember my brother posting me a copy of 'Dubliners' from Africa, but he says he never did.
How I envy writers who can work on aeroplanes or in hotel rooms. On the run I can produce an article or a book review, or even a film script, but for fiction I must have my own desk, my own wall with my own postcards pinned to it, and my own window not to look out of.
When I read something saying I've not done anything as good as 'Catch-22' I'm tempted to reply, 'Who has?'
People in my novels always have terrible problems. If they are not terrible, I make them more terrible.
You have started the book with this bubble over your head that contains a cathedral full of fire - that contains a novel so vast and great and penetrating and bright and dark that it will put all other novels ever written to shame. And then, as you get towards the end, you begin to realise, no, it's just this book.
Perhaps they were looking for passion; perhaps they delved into this book as into a mysterious parcel - a gift box at the bottom of which, hidden in layers of rustling tissue paper, lay something they'd always longed for but couldn't ever grasp.
You don't put your life into your books, you find it there.
I demand that my books be judged with utmost severity, by knowledgeable people who know the rules of grammar and of logic, and who will seek beneath the footsteps of my commas the lice of my thought in the head of my style.
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