I think of reading like a balanced diet; if your sentences are too baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka as roughage.Collection: Diet
My feeling is, having lived in different classes, that people want equality of opportunity... that's the thing that makes me despair: the idea that people aren't given equality of opportunity.Collection: Equality
A lot of women, when they're young, feel they have very good friends, and find later on that friendship is complicated. It's easy to be friends when everyone's 18.Collection: Friendship
Nowadays, I know the true reason I read is to feel less alone, to make a connection with a consciousness other than my own.Collection: Alone
I have an ambition to write a great book, but that's really a competition with myself. I've noticed that a lot of young writers, people in all media, want to be famous but they don't really want to do anything. I can't think of anything less worth striving for than fame.Collection: Famous
You can't state difference and also state equality. We have to state sameness to understand equality.Collection: Equality
Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay.Collection: Space
Novels are not about expressing yourself, they're about something beautiful, funny, clever and organic. Self-expression? Go and ring a bell in a yard if you want to express yourself.Collection: Funny
Women often have a great need to portray themselves as sympathetic and pleasing, but we're also dark people with dark thoughts.Collection: Women
When I was 21, I wanted to write like Kafka. But, unfortunately for me, I wrote like a script editor for 'The Simpsons' who'd briefly joined a religious cult and then discovered Foucault. Such is life.
If you're going to write a good book, you have to make mistakes and you have to not be so cautious all the time.
Desperation, weakness, vulnerability - these things will always be exploited. You need to protect the weak, ring-fence them, with something far stronger than empathy.
Asking why rappers always talk about their stuff is like asking why Milton is forever listing the attributes of heavenly armies. Because boasting is a formal condition of the epic form. And those taught that they deserve nothing rightly enjoy it when they succeed in terms the culture understands.
Cambridge was a joy. Tediously. People reading books in a posh place. It was my fantasy. I loved it. I miss it still.
The utterly fallacious idea at the heart of the pro-war argument is that it is the duty of the anti-war argument to provide an alternative to war. The onus is on them to explain just cause.
It seems that if you put people on paper and move them through time, you cannot help but talk about ethics, because the ethical realm exists nowhere if not here: in the consequences of human actions as they unfold in time, and the multiple interpretive possibility of those actions.
I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing.
Tell the truth through whichever veil comes to hand - but tell it. Resign yourself to the lifelong sadness that comes from never being satisfied.
Any artist who aligns themselves with a politician is making a category error because what politicians do is not on a human scale, it is on a geopolitical scale.
When a human being becomes a set of data on a website like Facebook, he or she is reduced. Everything shrinks. Individual character. Friendships. Language. Sensibility.
I never attended a creative writing class in my life. I have a horror of them; most writers groups moonlight as support groups for the kind of people who think that writing is therapeutic. Writing is the exact opposite of therapy.
Don't romanticise your 'vocation.' You can either write good sentences or you can't. There is no 'writer's lifestyle.' All that matters is what you leave on the page.
A lot of people seem to feel that joy is only the most intense version of pleasure, arrived at by the same road - you simply have to go a little further down the track. That has not been my experience.
My short stories have always pushed twenty pages. That's no length for a short story to be. You either do them short like Carver or you stop trying.
I tap danced for ten years before I began to understand people don't make musicals anymore. All I wanted to do was be at MGM working for Arthur Freed or Gene Kelly or Vincent Minelli. Historical and geographical constraints made this impossible. Slowly but surely the pen became mightier than the double pick-up time step with shuffle.
As far as I'm concerned, if you want to find out about the last day of WWII or the roots of the Indian Mutiny, get thee to a books catalogue.
I just can't get used to the idea of being somebody unreal in people's minds. I can't live my life like that. And it's just anathema to being a writer. It's not healthy.
My life is black and white and mixed. My mother's a Rastafarian, my dad was a short white guy - it's not an affectation. It's also the lives of millions of people throughout the world.
Young people understand the world. They should be listened to on matters of politics and world organization. But they know nothing of their own lives.
You know, you don't expect everyone to be as educated as everyone else or have the same achievements, but you expect at least to be offered at least some of the opportunities, and libraries are the most simple and the most open way to give people access to books.
People with children will know this: when the childcare is over, it's over on the dot. You immediately have to go into child mode; there's no down time.
Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.
It's difficult to tell the truth about how a book begins. The truth, as far as it can be presented to other people, is either wholly banal or too intimate.
One thing you can't intend is how you will be read. I hear it said a lot that my books are about the 'search for identity', and this is said admiringly, as if I meant to encourage such a search.
Writing is my way of expressing - and thereby eliminating - all the various ways we can be wrong-headed.
You become a different writer when you approach a short story. When things are not always having to represent other things, you find real human beings begin to cautiously appear on your pages.
There's constantly this melancholy about British hip-hop. People are always waiting for it to explode like American hip-hop, but it might just be that British hip-hop will always be as it is: an underground thing which will stay that way.
The roots of rap are originally ghetto-ised or extremely working class. So when you're an artist who's making something which isn't how its mainstream appearance should be, there's always these strange questions of authenticity and what you have to do to be 'real' as a rapper.
It's a funny thing about rap, that when you say 'I' into the microphone, it's like a public confession. It's very strange.
Oh yes, my generation liked to be in some pain when they read. The harder it was, the more good we believed it was doing us.
The conflation of the simple in style with the morally prescriptive in character, and the complex in style with the amoral or anarchic in character, seems to me one of the most persistently fallacious beliefs held by English students.