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.
Quite, quite,' she thought with a little sigh. 'It's always like this in their adventures. To save and be saved. I wish somebody would write a story sometime about the people who warm up the heroes afterward.
One does not argue about The Wind in the Willows.
An author spends months writing a book, and maybe puts his heart's blood into it, and then it lies about unread till the reader has nothing else in the world to do.
The cry that 'fantasy is escapist' compared to the novel is only an echo of the older cry that novels are 'escapist' compared with biography, and to both cries one should make the same answer: that freedom to invent outweighs loyalty to mere happenstance, the accidents of history; and good readers should know how to filter a general applicability from a particular story.
Most contemporary novels are not really "written." They obtain what reality they have largely from an accurate rendering of the noises that human beings currently make in their daily simple needs of communication; and what part of a novel is not composed of these noises consists of a prose which is no more alive than that of a competent newspaper writer or government official. A prose that is altogether alive demands something of the reader that the ordinary novel-reader is not prepared to give.
I am trying to make clear through my writing something which I believe: that biography- history in general- can be literature in the deepest and highest sense of that term.
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