Julianna Baggott Quotes

We feel the same emotions for our ideas as we do for the real world, which is why we can cry while reading a book, or fall in love with movie stars.

I love conventional apocalypse movies. In movies, I like to be with the president, or the scientist trying to solve the problem, but that's not the kind of fiction that I like to read.

Writers are funny about reviews: when they get a good one they ignore it-- but when they get a bad review they never forget it. Every writer I know is the same way: you get a hundred good reviews, and one bad, andyou remember only the bad. For years, you go on and fantasize about the reviewer who didn't like your book; you imagine him as a jerk, a wife-beater, a real ogre. And, in the meantime, the reviewer has forgotten all about the whole thing. But, twenty years later, the writer still remembers that one bad review.

Nobody believes me when I say that my long book is an attempt to create a world in which a form of language agreeable to my personal aesthetic might seem real. But it is true.

The incomparable James Walvin has done it again: he has crafted a beautifully written and deeply informed single volume history of the Atlantic slave trade and its consequences on three continents. This book is full of fresh ideas and astounding detail; it is at once great storytelling, punctuated with real people and voices, and an unblinking analysis of numerous great questions and paradoxes about the power of slavery in creating the Atlantic world over four centuries.

As a reader, I want a book to kidnap me into its world. Its world must make my so-called real world seem flimsy. Its world must lure me to return. When I close the book, I should feel bereft.

I like to mix the real and the imaginary. Sometimes it is characters inspired by real people I know or know of. Sometimes it is a named person from the common cultural dreamscape. And it is tricky, because they have a lot of associated ideas that come with them, and a lot of actual facts.

All true readers have a book, a moment when real life is never going to be able to compete with fiction again.

Few real people appear in my two novels, actually. "Ari" appears on the edge of this book a couple of times - but on the edge, she's never in it, even if she's a determining force from the outside. Everybody in the first book was basically made up, if never from scratch.

I love the book signings, you know, because I get to talk to real people, and a staggering number of people have said something very specific to me. "The Family Leave Law saved my family," or "Made our lives better," or, "The education aid that you provided made it possible for me to go to college." One man at 50 years of age got his college degree.

My characters are quite as real to me as so-called real people; which is one reason why I'm not subject to what is known as loneliness. I have plenty of company.

The best moment in writing any book is when you just can't wait to get back to the writing, when you can't wait to re-enter that fictional place, when your fictional town feels even more real than the town where you actually live.

Do you think it interests me that this painting represents two figures? These two figures existed, they exist no more. The sight of them gave me an initial emotion, little by little their real presence grew indistinct they became a fiction for me, then they disappeared, or rather, were turned into problems of all kinds. For me they are no longer two figures but shapes and colours, don't misunderstand me, shapes and colours, though, that sum up the idea of the two figures and preserve the vibration of their existence.

The idea that when one reacts, one is not reacting to any one of those moments. You're reacting to the accumulation of the moments. I wanted the book, as much as the book could do this, to communicate that feeling. The feeling of saturation. Of being full up. I wanted it to be simulacra.

When I'm in the middle of a book it can go up from there. When you're putting in those hours, the real world kind of fades and the world you're creating becomes almost more real to you than the outside world.

Al forms of consensus about ''great'' books and ''perennial'' problems, once stabilized, tend to deteriorate eventually into something philistine. The real life of the mind is always at the frontiers of ''what is already known.'' Those great books don't only need custodians and transmitters. To stay alive, they also need adversaries. The most interesting ideas are heresies.

It has long been a tradition among novel writers that a book must end by everybody getting just what they wanted, or if the conventional happy ending was impossible, then it must be a tragedy in which one or both should die. In real life very few of us get what we want, our tragedies don't kill us, but we go on living them year after year, carrying them with us like a scar on an old wound.

Life is not a PG feel-good movie. Real life often ends badly. Literature tries to document this reality, while showing us it is still possible for us to endure nobly.

For if the proper study of mankind is man, it is evidently more sensible to occupy yourself with the coherent, substantial and significant creatures of fiction than with the irrational and shadowy figures of real life.

But some characters in books are really real--Jane Austen's are; and I know those five Bennets at the opening of Pride and Prejudice, simply waiting to raven the young men at Netherfield Park, are not giving one thought to the real facts of marriage.

It is both revealing and invigorating to occasionally set aside the worries of life, seek the company of a friendly book and mingle with the great of the earth, counsel with the wise of all time, look into the unlived days with prophets...To become acquainted with real nobility as it walks the pages of history and science and literature is to strengthen character and develop life in its finer meanings.

I'm very pessimistic about adaptations from one medium to another. I've got a very kind of primitive, Puritan view of it. I tend to think that if something was derived for one medium, then there's no real immediate reason to think that it's necessarily going to be as good or better if adapted into another one. There have been very good stage plays that have made some very good films. But there are not so many differences between the theater and the cinema as there are between the cinema and, say, reading a book or reading a comic.

The real giants have always been poets, men who jumped from facts into the realm of imagination and ideas.

I think sometimes it's sort of easier to be playing a role based on a real person because there's quite often a lot more information, you're not making it up, it's there in books, it's there in research form. But really the questions you ask about the character, and why people behave, and where they come, and how they've ended up in the places they've ended up are the same.

You don't always have to have an e-book. You can have a real book. I'd like to see the old way maintain.