I don't know if there is a personal identity. We all imagine that we are absolute individuals. But when we begin to look for where this individuality resides, it's very difficult to find.
John BanvilleRead
Most crime fiction, no matter how 'hard-boiled' or bloodily forensic, is essentially sentimental, for most crime writers are disappointed romantics.
Interpretation
Crime fiction often reflects a deeper emotional truth beneath its surface of violence.
John Banville suggests that despite the gritty and violent facade of crime fiction, it often harbors a sentimental core. He posits that many crime writers, while portraying dark and intricate narratives, are fundamentally romantics at heart, yearning for deeper connections and truths amidst the chaos of their stories.
In practice
In a book club discussion about literary themes.
I don't know if there is a personal identity. We all imagine that we are absolute individuals. But when we begin to look for where this individuality resides, it's very difficult to find.
Why does the past seem so magical, so fraught, so luminous? At the time it was just, ugh, another boring bloody day. But, to look back on, it's a day full of miracles and light and extraordinary events. Why is this? What process do we apply to the past, to give it this vividness? I don't know.
Happiness was different in childhood. It was so much then a matter simply of accumulation, of taking things - new experiences, new emotions - and applying them like so many polished tiles to what would someday be the marvellously finished pavilion of the self.
Writing keeps me at my desk, constantly trying to write a perfect sentence. It is a great privilege to make one's living from writing sentences. The sentence is the greatest invention of civilization. To sit all day long assembling these extraordinary strings of words is a marvelous thing. I couldn't ask for anything better. It's as near to godliness as I can get.
I know some of my memories are made up and they are far more powerful than the things that actually happened. For example, I always remember my brother posting me a copy of 'Dubliners' from Africa, but he says he never did.
How I envy writers who can work on aeroplanes or in hotel rooms. On the run I can produce an article or a book review, or even a film script, but for fiction I must have my own desk, my own wall with my own postcards pinned to it, and my own window not to look out of.
I want to remind people of the great and profound joy that can be found in stories, and that stories can connect us to each other, and that reading together changes everybody involved.
I know I'm a rare person, a trained scientist who writes fiction, because so few contemporary novelists engage with science.
One cannot be too careful in the selection of adjectives for descriptions. Words or compounds which describe precisely, and which convey exactly the right suggestions to the mind of the reader, are essential.
My experience is that prose usually equals duty - last minute, overdue-deadline stuff or a panic lecture to be written.
Does the novel have to deepen the psychology of its heroes? Certainly the modern novel does, but the ancient legends did not do the same. Oedipus' psychology was deduced by Aeschylus or Freud, but the character is simply there, fixed in a pure and terribly disquieting state.
A big part of me would be very proud never having anything of mine adapted, because if you want the real experience, there's only one way to get it. You're going to actually have to be a reader.
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