Literary Themes Quotes

As a writer, I tend to be drawn to marginal people - writers, poet-prophets, seers, eccentrics - who embody the deeper ambivalences of their societies and bear deeper witness to their world than the famous figures we are used to celebrating, or demonizing, in our histories.

It's something I've always kicked around, not doing the eBook but the Rich Man, Poor Man thing.

When we're good, we're very, very good, and when we're bad, we're horrid. This is not news, because we're so much more inventive and we have two hands, the left and the right. That is how we think. It's all over our literature, and it's all over the way we arrange archetypes, the good version, the bad version, the god, the devil, the Abel, the Cain, you name it. We arrange things in pairs like that because we know about ourselves.

I don't think I'm morbid by nature. Serious writers have always written about serious subjects. Lighthearted material doesn't appeal to me, and I don't read it. I think I'm a realist, with a realistic sensibility of history and the tragedy of history.

Oh! And they read English novels! David! Did you ever look into an English novel? Well, do not trouble yourself. It is nothing but a lot of nonsense about girls with fanciful names getting married.

At the height of the British Empire very few English novels were written that dealt with British power. It's extraordinary that at the moment in which England was the global superpower the subject of British power appeared not to interest most writers.

The most enduring stories in literature generally have some kind of crime at their center, whether it's the bloody butchery of 'Hamlet,' the lecherous misanthropes of Dickens or the lone gunman from 'The Great Gatsby.'

There are dozens of great American writers who write about the family.

New York has been the subject of thousands of books. Every immigrant group has had its saga as has every epoch and social class.

Although, from the point of view of sociology, the overt ambition of 'American Pastoral' - to imagine the impact on a good man of America's fall from the family decencies of the '30s and '40s to the self-centred violence of the '60s - outstrips anything Sabbath's Theater attempts, the writing is no less fervid an excurse into the writer's mind.

I'm not a sociologist, and the novel has often concerned itself with sociology. It's one of the generating forces that's made fiction interesting to people. But that's not my concern. I'm interested in psychology. And also certain philosophical questions about the world.

When I write I'm never really thinking about themes or the universal.

Had he learned nothing from all those years of teaching Hawthorne? Through story after story he'd led his boys to consider the folly of obsession with purity - its roots sunk deep in pride, flowering condemnation and violence against others and self.

Most people think of 'Wuthering Heights' as romantic; it's really not about that at all.

Literature is about telling stories.

One of the things I've thought about 'Midnight's Children' is that it is a novel which puts a Muslim family at the centre of the Indian experience.

The adolescent protagonist is one of the hallmarks of American literature.

I spent my youth reading books in which corporations became governments, it's an old idea in science fiction.

Most writers stick to what they know. The black experience is our experience, so it's not that challenging for us. That's why sometimes you'll see writers that start off telling black stories, but later branch out into other material. People say they "sell out." No, they evolve as writers.

I love love stories, no matter how dark.

The messiness [in my books] is nothing like an Atwood novel. For me, the deeper subjects are secrets versus intimacy, and how both beget safety but also threaten it. And there is a lot for me about loss, too.

Having written for film and television, I had little interest in turning 'The Good Father' into a Hollywood thriller. I was writing a novel, and novels demand that the writer goes deeper, both emotionally and thematically.

She mediated, by turns, on broken promises and broken arches, phaetons and false hangings, Tilneys and trap-doors.

High and fine literature is wine, and mine is only water; but everybody likes water.

I don't buy into the idea that an Irish writer should write about Ireland, or a gay writer should write about being gay. But when I found the right story, I saw it as an opportunity to write about being a teenager and being gay. Most people, whether you're gay or straight or whatever, have experienced that relationship where one person is much more interested than the other.