Elif Batuman Quotes

In terms of style, I think the memoirist should have a novelist's skill and all the elements of a novelist's toolbox. When I read a memoir, I want to really, deeply experience what the author experienced. I want to see the characters and hear the way they speak and understand how they think. And so in that way, writing a memoir feels similar to writing a novel.

I don't read memoirs. But if you write a memoir, I would think you'd want people to know, "O.K., look, I've taken some liberties here." It's just a matter of being open with your readers.

I think I'm like most novelists in that my books have gotten farther and farther away from autobiography the longer I've been writing them.

In fact, one of the things that I really love about literary fiction is that it's one of the few kinds of writing that doesn't tell us what to think or what to buy or what to wear. We're surrounded by advertising.

There's a lot of material from my life in my books, but they're not really autobiographical, in the sense that they're not about my life. So, in 'A Feather on the Breath of God' I write about my parents, I write about this Russian immigrant, I write about the world of dance, but it isn't an autobiography; so much is left out.

I sometimes feel that my goal as a novelist would be to write a novel in which the language was so transparent that the reader would forget that language was the medium of understanding. Of course that's not possible, but it's some sort of idealized goal.

Honestly, I don't try to guess at what most people want. I don't think I'd guess right, and I just think that that's not a good recipe for storytelling. I try to write what I like, what I think my friends would like.

I think everything you are, everything that engages you, eventually comes to bear on the novel you write. I think the creative energy in novel writing, obviously, comes from tension. From trying to fuse. From trying to make coherent disparate things that might not at all seem to belong together within a narrative.

I had to detach myself from myself, if that makes any sense, to conjure an authentic first-person voice. In that sense, it was similar to writing a first-person novel. But I was writing about real people, not fictional ones - myself, my family, my friends and boyfriends and ex-husband, and that was extremely tricky.

It's just the garbage in/garbage out trick. If you're not taking any fiction in, good or bad, then how can you be spitting any back out (good or bad)? I can't even imagine trying to write without reading. Really, I can hardly write a novel at all if I'm not reading just book after book.

if I'd thought that nobody would like it as I was writing it, I would have written it even more. But I never think of the audience. I never think of people reading. I never think of people, period.

I actually find it pretty tedious when magazines ask me to write articles based on my real life, because I've already lived it and there's nothing new to discover. So, I'm unlikely to write a memoir.

I never thought I would write an autobiography, probably because my first novel, Go Now, is really all drawn from my life, even though it's more about the psychology going on.

I want to write and direct, but I don't think if I did it for 100 years I would ever come close to putting something out there that gives a feeling of all-encompassing and joyous.

Perhaps one would be wise when young even to avoid thinking of oneself as a writer - for there's something a little stopped and satisfied, too healthy, in that. Better to think of writing, of what one does as an activity, rather than an identity - to write, I write; we write; to keep the calling a verb rather than a noun; to keep working at the thing, at all hours, in all places, so that your life does not become a pose, a pornography of wishing.

I had always been wary of doing any autobiographical movies, truly feeling at home with fiction.

The guy who sits at the keyboard and types is so much smarter than I am. I think I got into writing so that I could spend as much time with that guy as possible.

When you're young, your perception of what it means to be a writer is often less about the writing and more about what seems to be the accompanying life: speeches and travel and hanging out with other writers. You think that when you get published, your life will clarify itself to you somehow. But when you don't get published until you're middle-aged you know who you are already, and your life expands to make room for your writing, rather than orbiting around it. You realize that there's no one way to be a writer, and that the job is less of an identity and more of a vocation.

Even when I think of writing fiction, it's being kind of a liar, a storyteller, a weaver, and there's that sense of how much of this is your life. The story is a way you unravel your life from behind a mask.

I'm just writing what I know. I've never been much of a reader of fantasy, and I think you write what you, personally, enjoy reading.

Here in the United States, we speak with reverence of authentic experience. We write poems about our daddies taking us fishing and breaking our hearts by making us throw the little fish back into the river. We even tell the reader the kind of car we were driving, the year and the model, to give the impression that it’s all true. It’s because we think of ourselves as journalists of a kind. Like them, we’ll go anywhere for a story. Don’t believe a word of it. As any poet can tell you, one often sees better with eyes closed than with eyes wide open.

I always write about my own experiences, whether I've had them or not.

I think at the age of 50, everyone should write their own autobiography.

I always think about the books I'm doing in pretty much the same way. I'm simply trying to write that particular novel as well as that particular novel can be written. I want to listen to what it is telling me, trying to figure out what it wants to do as much as what I want to do with it. There's a negotiation that's constant and ongoing between me and the material I'm working with, because I'm trying to listen to it.

I love the sound of words, the feel of them, the flow of them. I love the challenge of finding just that perfect combination of words to describe a curl of the lip, a tilt of the chin, a change in the atmosphere. Done well, novel-writing can combine lyricism with practicality in a way that makes one think of grand tapestries, both functional and beautiful. Fifty years from now, I imagine I’ll still be questing after just that right combination of words.