Ma's still nodding. "You're the one who matters, though. Just you." I shake my head till it's wobbling because there's no just me.
Emma DonoghueRead
Ah yes, the paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.
Interpretation
Publicity can draw attention to a work, but it may also taint the pure experience of discovering it.
In this quote, Emma Donoghue highlights the irony of publicity in the literary world. While promoting a book can increase its visibility and readership, it simultaneously diminishes the possibility of a reader encountering the book without preconceived notions, thereby affecting their genuine connection to the story. This paradox raises important questions about the nature of art, discovery, and the role of marketing in literature.
In practice
This quote could be used in a discussion about the effects of marketing on literature during a book club meeting.
Ma's still nodding. "You're the one who matters, though. Just you." I shake my head till it's wobbling because there's no just me.
At the door, there was one of those moment when two people realize that they like each other more than they know each other. This is nicer than the opposite situation, but more awkward. You try to remember the protocol for touching. You hate to gush, or presume to much, yet you are unwilling to let the moment pass without without some gesture
You cannot predict literary success; the only way you can possibly aim for it is to do your thing and do it well.
Books are the air I breathe, so I don't notice the seasons.
Writing stories is my way of scratching that itch: my escape from the claustrophobia of individuality. It lets me, at least for a while, live more than one life, walk more than one path. Reading, of course, can do the same.
...real loneliness is having no one to miss. Think yourself lucky you've known something worth missing.
I believe that all novels, ... deal with character, and that it is to express character – not to preach doctrines, sing songs, or celebrate the glories of the British Empire, that the form of the novel, so clumsy, verbose, and undramatic, so rich, elastic, and alive, has been evolved ... The great novelists have brought us to see whatever they wish us to see through some character. Otherwise they would not be novelists, but poet, historians, or pamphleteers.
Size matters in fiction, but so does lack of size. Everything else being equal, fat novels tend to be perceived as serious, very thin ones as more honest, more real. Writers address these age-old expectations by filling their big books with philosophy and cramming their little ones with feeling.
I get a lot of moral guidance from reading novels, so I guess I expect my novels to offer some moral guidance, but they're not blueprints for action, ever.
For a lot of readers these days, a book is something you have to agree or disagree with. But you can't agree with a novel. For my generation, it was assumed that a book is a dramatic thing, that the eye of the book is not telling you what to think.
As I look back, I feel a touch of pride at my younger self's dedication to literature, which gave him the strength of mind to resist the blandishments of the enemies of promise. The sirens of ad-land sang sweetly and seductively, but I thought of Odysseus lashing himself to the mast of his ship, and somehow stayed on course.
Until the 20th century it was generally assumed that a writer had said what he had to say in his works.
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