I took comfort, as a kid, in knowing that things had always been as awful and as wonderful as they were now, that the world was always on the edge of total destruction.
Michael ChabonRead
All novels are sequels; influence is bliss.
Interpretation
Every novel builds on the ideas of previous works, and drawing from them is a joyous experience.
Michael Chabon's quote suggests that all novels are interconnected, with new works often inspired by those that came before them. This idea emphasizes the collaborative nature of literature, where authors benefit from the influence of their predecessors, finding joy and inspiration in the continuity of storytelling.
In practice
In a discussion about the evolution of literature, this quote can highlight the importance of literary influence.
I took comfort, as a kid, in knowing that things had always been as awful and as wonderful as they were now, that the world was always on the edge of total destruction.
A story begins with this nebulous feeling that’s hard to get a hold of and you’re testing your feelings and assumptions, testing what you believe. They end up turning into keepsakes and mementos –like amber in which a memory gets trapped.
I smoked and looked down at the bottom of Pittsburgh for a little while, watching the kids playing tiny baseball, the distant figures of dogs snatching at a little passing car, a miniature housewife on her back porch shaking out a snippet of red rug, and I made a sudden, frightened vow never to become that small, and to devote myself to getting bigger and bigger and bigger.
It's always thrilling to encounter the sweep of time in a work of fiction in a way that feels authentic and real.
[My dad] didn't do much apart from the traditional winning of bread. He didn't take me to get my hair cut or my teeth cleaned; he didn't make the appointments. He didn't shop for my clothes. He didn't make my breakfast, lunch, or dinner. My mom did all of those things, and nobody ever told her when she did them that it made her a good mother.
You need three things to become a successful novelist: talent, luck and discipline. Discipline is the one element of those three things that you can control, and so that is the one that you have to focus on controlling, and you just have to hope and trust in the other two.
I'll read anything Anne Carson writes, anything J. M. Coetzee writes, and anything Cormac McCarthy writes. I'll drop whatever I'm doing to read a new Mary Ruefle essay.
So many Indian novels, quite unfairly, do not get the prominence they should because they have been written in a language other than English.
How is it that, a full two centuries after Jane Austen finished her manuscript, we come to the world of Pride and Prejudice and find ourselves transcending customs, strictures, time, mores, to arrive at a place that educates, amuses, and enthralls us? It is a miracle. We read in bed because reading is halfway between life and dreaming, our own consciousness in someone else's mind.
I have said that each aspect of the novel demands a different quality of the reader. Well, the prophetic aspect demands two qualities: humility and the suspension of the sense of humour.
I can think of no other writer who so thoroughly embodies the Jamesian spirit as Alison Lurie. Like him she can excavate all the possibilities of a theme. Like his, her books seem long, unbroken threads, seamless progressions of effects.
Short fiction and the novel, nonfiction and fiction, electronic texts and books - these are not opposites. One need not destroy the other to survive.
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