It really felt like my generation was deprived of a future that we believed was ours. I don't mean some hugely privileged future where we all have gigantic houses. I mean having a job.
Sally RooneyRead
When I read interviews with people like Kevin Barry or Colin Barrett, who I hugely admire, they don't really seem to come up against the question of likeability even though their characters, in some instances, are really horrible.
Interpretation
The likeability of characters can be secondary to their complexity and the admiration for the authors who create them.
Sally Rooney reflects on her admiration for writers like Kevin Barry and Colin Barrett, noting that their characters, despite being unlikable, do not elicit questions of likeability in the authors' works. This observation suggests that depth and authenticity in character creation hold greater significance than superficial appeal, challenging the traditional notion of character assessment in literature.
In practice
In a book club discussion about character development, this quote can illustrate the complexity of unlikable characters.
It really felt like my generation was deprived of a future that we believed was ours. I don't mean some hugely privileged future where we all have gigantic houses. I mean having a job.
I find myself consistently drawn to writing about intimacy and the way we construct one another.
Class is something that I think seriously about and try to organise my politics around. I think there are lots of novels that don't really engage with questions of class at all, and they get less conversation about issues of social privilege than I do. But it's better to try and talk about it and maybe fail.
I gave myself the small task of writing honestly about the kind of life I knew. I believe there is some value in carrying out that task, however limited.
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.
The problem with fiction, it has to be plausible. That's not true with non-fiction.
One of my biggest peeves is when the writer hasn't given you enough information to figure everything out. You should be able to go back to the beginning of 'Gone Girl,' after you've already read it and you know everything, and say, 'Check - check - yes, she gave us that information.'
The difference between memoir and autobiography, as far as I see it, is that a memoir is there primarily to tell one particular story, whereas an autobiography tries to be a full account of a life.
I've read everything Thomas Wolfe ever wrote; my brother and I memorized whole chapters of 'You Can't Go Home Again' and 'Look Homeward, Angel.'
It’s a small story really, about, among other things: * A girl * Some words * An accordionist * Some fanatical Germans * A Jewish fist fighter * And quite a lot of thievery
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