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.
Until the 20th century it was generally assumed that a writer had said what he had to say in his works.
Fiction and essays can create empathy for the theoretical stranger.
Lots of people can write a good first page but to sustain it, that's my litmus test. If I flip to the middle of the book and there's a piece of dialogue that's just outstanding, or a description, then I'll flip back to the first page and start it.
THE WRITER can get free of his writing only by using it, that is, by reading oneself. As if the aim of writing were to use what is already written as a launching pad for reading the writing to come. Moreover, what he has written is read in the process, hence constantly modified by his reading. The book is an unbearable totality. I write against a background of facets.
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.
As a reader I loathe introductions...Introductions inhibit pleasure, they kill the joy of anticipation, they frustrate curiosity.
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