It really felt like my generation was deprived of a future that we believed was ours. I don't mean some hugely privileged future where we all have gigantic houses. I mean having a job.
Sally RooneyRead
When I read interviews with people like Kevin Barry or Colin Barrett, who I hugely admire, they don't really seem to come up against the question of likeability even though their characters, in some instances, are really horrible.
Interpretation
The likeability of characters can be secondary to their complexity and the admiration for the authors who create them.
Sally Rooney reflects on her admiration for writers like Kevin Barry and Colin Barrett, noting that their characters, despite being unlikable, do not elicit questions of likeability in the authors' works. This observation suggests that depth and authenticity in character creation hold greater significance than superficial appeal, challenging the traditional notion of character assessment in literature.
In practice
In a book club discussion about character development, this quote can illustrate the complexity of unlikable characters.
It really felt like my generation was deprived of a future that we believed was ours. I don't mean some hugely privileged future where we all have gigantic houses. I mean having a job.
I find myself consistently drawn to writing about intimacy and the way we construct one another.
Class is something that I think seriously about and try to organise my politics around. I think there are lots of novels that don't really engage with questions of class at all, and they get less conversation about issues of social privilege than I do. But it's better to try and talk about it and maybe fail.
I gave myself the small task of writing honestly about the kind of life I knew. I believe there is some value in carrying out that task, however limited.
Most American writers don't get asked their opinion on current affairs, whereas in Europe and England, we still do. There are writers here who are the most sophisticated commentators, but they're not asked. Like Don DeLillo, who sort of forecast most of the modern world before it happened.
All novels must be autobiographical because I am the only material that I know. All of the characters are me. But at the same time, a novel is never autobiographical even if it describes the life of the author. Literary writing is a completely different medium.
Ah yes, the paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.
The poet can only write the poems; it takes the reader to complete the meaning.
But I too hate long books: the better, the worse. If they're bad they merely make me pant with the effort of holding them up for a few minutes. But if they're good, I turn into a social moron for days, refusing to go out of my room, scowling and growling at interruptions, ignoring weddings and funerals, and making enemies out of friends. I still bear the scars of Middlemarch.
The difference between literature and journalism is that journalism is unreadable and literature is not read.
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