Lust was a positive high-tension cable, plugged into my core, activating a near-epileptic seizure of conviction that this was the one thing I had to do in life.
Will SelfRead
What fiction offers us is an intimacy shorn of the messy contingencies of human existence - gender, race, class or age. Those moments of transcendence when we exclaim 'You know exactly what I mean!' depend for much of their force on the anonymous character of the intimacy between writer and reader.
Interpretation
Fiction provides a pure form of connection between the writer and the reader, free from real-world complexities.
In this quote, Will Self suggests that fiction creates a unique intimacy that transcends the messy realities of life, such as gender, race, class, or age. This intimacy allows readers to connect deeply with the writer's work, as it fosters moments of understanding and recognition, revealing the power of shared human experience, unbound by identity markers that typically influence our interactions.
In practice
A discussion on the significance of fiction in a book club.
Lust was a positive high-tension cable, plugged into my core, activating a near-epileptic seizure of conviction that this was the one thing I had to do in life.
When anyone starts out to do something creative - especially if it seems a little unusual - they seek approval, often from those least inclined to give it. But a creative life cannot be sustained by approval, any more than it can be destroyed by criticism - you learn this as you go on.
Sometimes, when I hear people without experience of addiction blame addicts for their behaviour, I feel like saying to them: 'You simply don't understand - how can a child be held responsible for doing such a dreadful thing to himself?' But then again, at other times I have to acknowledge: it was done wilfully.
Death, the real simile for disease - for when we are ill, do we not always feel like we are dying, even if it's only a little? - remains, despite our secularism, the most metaphoricised phenomenon of all.
The marvellous thing about writing, whether it be fiction or journalism, is that it is simultaneously the most intimate and the most anonymous of meetings between people. It is profoundly intimate in reaching into the psyche of another, at the same time as being devoid of social characteristics, cultural characteristics, economic characteristics.
One of the most heartening phenomena in today's Britain is the great diversity of the modern nerd - the nerd is out and proud, and while she may love 'Buffy the Vampire Slayer' merchandise more than is strictly warranted, she is in every way to be cherished as an exemplar of cosmopolitanism and tolerance.
Every individual ought to know at least one poet from cover to cover: if not as a guide through the world, then as a yardstick for the language.
An unread author is an author who is a victim of the worst kind of censorship, indifference - a censorship more effective than the Ecclesiastical Index.
There is the myth that writing books for children is easier than writing books for grownups, whereas we know that truly great books for children are works of genius, whether it's 'Alice in Wonderland' or the 'Gruffalo' or 'Northern Lights.' When it's a great book, it's a great book, whether it's for children or not.
I've gained a lot from James Joyce, Tolstoy, Chekhov and R. K. Narayan. While writing, I try to see if the story is going to radiate spokes. Their literature has always done that and gifted me beautiful things.
Good crime writing holds up a mirror to the readers and reflects in a darker light the world in which they live.
We tend to regard history as true and 'The Adventures of Huckleberry Finn' as untrue. That's always puzzled me.
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