I was reared in 19th Century Russian literature and then the literature of American Jews (Roth, Bellow, etc.) and I always had difficulty with the relative lack of emotion in English lit.
Our political mise en scène has metamorphosed of late into a dark carnival, … confusing and ominous from any vantage point.
No great hand reached down from the sky and made me a writer. I made myself one, by writing.
People, mostly nonwriters, are always surprised when I tell them I wrote so much growing up. They’re incredulous that I would write such a large volume of work, entire novels, and never submit them, or at least rework them (as if all of it wasn’t incredibly sophomoric, amateur as if it wasn’t written by a 14-year-old). But those words, I want to tell them, weren’t written for anyone else the audience who needed to see them and the audience for whom they were written was me.
Writing fiction was my emotional test kitchen.
"While I wouldn’t presume to single out one of [E.L.] Doctorow’s dozen novels or story collections as his ‘best’ book, I do think it is fair to say that, so far, his best known and best loved work is the novel Ragtime. And I would argue that this has also been his most influential book, the one that has done more than all the others to change the way American authors approach the writing of novels.”
A certain G Fodor Gábor, the strategic director of the Századvég (Century’s End) Foundation … suggests that [László Krasznahorkai] should shoot himself in the head.