Teju Cole Quotes

There are only so many stories in the world... Duplication of plots is bound to happen because most writers have read very extensively in their genre and have become aware they are adding an extra layer to the meta-narrative, finding a new spin on the original.

When it comes to writers, I'm a huge fan of Ian McEwan. I've never taken a writing course, but reading and deconstructing his novels has been as good a lesson as any.

Proust, my big inspiration for 'Goon Squad,' uses music a lot in his novel, both in terms of plot and structure. I liked the idea of doing the same thing, which is one reason I structured 'Goon Squad' as a record album, with an A side and a B side, that's built around the contrasting sounds of the individual numbers in it.

I've always enjoyed that kind of thing - thinking about the production of narrative and why it is that when we read a novel, we don't notice the fact that someone who might be very close-mouthed or tight-lipped is perfectly willing to tell us a story in 600 or 700 pages.

Moby Dick - that book is so amazing. I just realized that it starts with two characters meeting in bed; that's how my book begins, too, but I hadn't noticed the parallel before, two characters forced to share a bed, reluctantly.

I found 'The Twin' sitting on a coffee table at a writers' colony in 2009. It carried praise from J.M. Coetzee. That seemed ample justification for using it to avoid my own writing. I finished it - weeping - a day later, and I've been puzzling over its powerful hold on me ever since.

If you ever want to understand multitasking in prose, James Joyce is your man.

Faulkner was the first novelist I read with pen and paper in hand because his technique stunned me.

I think all literature should be read as comparative literature. And I think we should write out of what we know, but in the expectation that we can be changed at any moment by something we have yet to discover.

Proust's 'In Search of Lost Time,' especially 'Time Regained,' made me think differently about what the novel is and can do. Then I forgot about it, then reread it and remembered again.

The exciting quality about Joyce is that when you read him, you are not told of the large public issues that were agitating the minds of politicians and journalists on those days. Joyce is interested in the mind of a man who has put five shillings on a horse.

Since its beginnings, American writing has been in dialogue with other literatures.

When I get asked about novelists I like, they tend to be white, male, and British, like Graham Greene. They write the kind of declarative sentences I like. I don't like to be deflected by acrobatics.

To understand a literary style, consider what it omits.

'One Hundred Years of Solitude' is a masterpiece because it is an episodic novel that has a rigorous form - an unprecedented combination. From the very beginning we know the town of Macondo will endure only a century, so there is a limit to the length of the narrative.

I can think of no other writer who so thoroughly embodies the Jamesian spirit as Alison Lurie. Like him she can excavate all the possibilities of a theme. Like his, her books seem long, unbroken threads, seamless progressions of effects.

Perhaps the writer I've read the most of is Haruki Murakami, the Japanese writer, but I wouldn't necessarily say he's a favourite. I read him because I find his work so intriguing, but I don't necessarily feel I would follow this writer to the ends of the earth.

Critics who do the weekly recap, I find that kind of absurd. That's like reviewing chapters in a novel.

It seems that so much writing is being done in the nineteenth-century model, where every connection has to be thoroughly explained.

At Cornell University, my professor of European literature, Vladimir Nabokov, changed the way I read and the way I write. Words could paint pictures, I learned from him. Choosing the right word, and the right word order, he illustrated, could make an enormous difference in conveying an image or an idea.

The only books I give up on are texts where the writer's attention is concentrated so heavily on narrative questions that his or her use of language becomes careless.

I'd studied English literature at university, but I was also far more enamored with Virginia Woolf, Katherine Mansfield, and James Joyce. That was my passion.

No formal course in fiction-writing can equal a close and observant perusal of the stories of Edgar Allan Poe or Ambrose Bierce.

Faulkner's 'As I Lay Dying' had an immense effect on me, and most of my novels bear the burn marks of this experience, those short chapters with their conflicting points of view, truth expressed by multiple perspectives. The other attractive thing about 'As I Lay Dying' was the way it gave rich voices to the poor.

I love working with genre. And to me, the Victorian novel is the flourishing ancestor I'm always trying to access when I write.