In my experience, when you're writing, you want the truth, and you don't want to be apologetic in any way. But there is something in writing, the complexity of it, that works against that aim.
Karl Ove KnausgardRead
When I write something, I can't remember in the end if this is a memory or if it's not - I'm talking about fiction. So for me, it's the same thing.
Interpretation
The boundary between fiction and memory can be blurred for a writer.
In this quote, Karl Ove Knausgard reflects on the intricate relationship between memory and fiction in his writing process. He expresses how the act of creating fictional narratives can lead to uncertainty about whether the events he writes about are based on real memories or purely imaginative constructs, highlighting the subjective nature of storytelling and the complexities of human recollection.
In practice
Discussing the creative process in a writing workshop.
In my experience, when you're writing, you want the truth, and you don't want to be apologetic in any way. But there is something in writing, the complexity of it, that works against that aim.
I'm giving away my family's story. Who owns the family's story? I don't. But you could turn it around and ask, 'Who is to deny me to write my family's story?' I have hurt people, but I don't think in a dangerous way. But you can't tell.
I guess I have a talent for humiliation, a place within me that experience can't reach, which is terrible in real life but something that comes in handy in writing. It seems as though humiliation has become a career for me.
Form is, in a way, death. A novelist's obligation is to break free from the form, even though he knows that this will also be seen as artificial and distanced from life.
When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.
I do feel guilty. I do. Especially about my family, my children. I write about them, and I know that this will haunt them as well through their lives. Why did I do that to them?
Part of any book is establishing the rules at the end of the world. My first book, 'The Intuitionist,' takes place in an alternative world where elevator inspectors are important, so you have to establish rules, and part of that is, How do people talk? How do they behave?
A poet's autobiography is his poetry. Anything else can only be a footnote.
I thought I could capture the stories of the city on paper. I thought I could write about the horrors of the city. Horror stories you see. I tell you I didn't have to look far for material. Everywhere I looked, there were stories hidden there in the dark corners. . . . I wrote and still there were more. . . . No one would publish them. 'Too horrible,' they said. 'Sick mind,' they said. I thought I could write about the horrors of the city but the horror is too big and it goes on forever.
I believe in low lights and trick mirrors.
I'm very proud of the Rome episode of 'No Reservations' because it violated all the conventional wisdom about making television. You're never, ever supposed to do a food or travel show in black and white.
Art requires philosophy, just as philosophy requires art. Otherwise, what would become of beauty?
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