Mark Haddon Quotes
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I like poetry when I don't quite understand why I like it. Poetry isn't just a question of wrapping something up and giving it to someone else to unwrap. It just doesn't work like that.
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I have very fond memories of swimming in Walden Pond when we lived in Boston. You'd swim past a log and see all these turtles sunning themselves. Slightly disturbing if you thought about how many more were swimming around your toes, but also rather wonderful.
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As a teenager, I was always this strange mixture of kind of vice-captain of the rugby team and sensitive artist type the rest of the time. I was sent away to this public school in the middle of nowhere, and I think we managed to completely miss out on normal youth culture.
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I think Britain has this tradition which suggests that if you make the readers laugh too much, you can't really be serious. Whereas, I think one of the functions laughter can perform in a book, as in life, is that it's a reaction to genuine horror.
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Young readers have to be entertained. No child reads fiction because they think it's going to make them a better person.
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A lot of roles for people with disabilities are quite patronising. It's a real pity when they are just used to give dull PC kudos to a drama, or when they're wheeled on in a tokenistic way without any real involvement in the plot.
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Use your imagination, and you'll see that even the most narrow, humdrum lives are infinite in scope if you examine them with enough care.
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Writing for children is bloody difficult; books for children are as complex as their adult counterparts, and they should therefore be accorded the same respect.
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I thought Bill Bryson's 'A Short History of Nearly Everything' was remarkable. Managing to be entertaining while still delivering all that hard science was a pretty good trick to pull off.
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I started writing books for children because I could illustrate them myself and because, in my innocence, I thought they'd be easier.
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When I was writing for children, I was writing genre fiction. It was like making a good chair. However beautiful it looked, it needed four legs of the same length, it had to be the right height and it had to be comfortable.
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The most difficult book I wrote was the fourth in a series of linked children's books. It was like pulling teeth because the publisher wanted exactly the same but completely different. I'd much rather just do something completely different, even if there's a risk of it going wrong.
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I always thought I'd eventually learn how to draw really well, and despite constant evidence to the contrary, I just kept on trying. If you're too good at anything, you don't have to think about the process, whereas I feel like I spend my life with my head under the bonnet, trying to understand how everything works.
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If you enjoy math and you write novels, it's very rare that you'll get a chance to put your math into a novel. I leapt at the chance.
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The main impetus for being a writer is thinking, 'I could invent another world. I'm not terribly keen on this one.'
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Stories about mental aberration and oddity only make sense in context. Just how do people live with someone who is peculiar, gifted, strange or alien? It's odd because there's a little part of me that wants to write about exotic, strange bizarre subjects. Instead, I've rather reluctantly realised that what I write about is families.
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There's something with the physical size of America... American writers can write about America and it can still feel like a foreign country.
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I don't remember deciding to become a writer. You decide to become a dentist or a postman. For me, writing is like being gay. You finally admit that this is who you are, you come out and hope that no one runs away.
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B is for bestseller.
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I've come to realize that most good ideas are precisely the ones you can't describe.
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There's something rather wonderful about the fact that Oxford is a very small city that contains most of the cultural and metropolitan facilities you could want, in terms of bookshops, theatre, cinema, conversation. But it's near enough to London to get here in an hour, and it's near enough to huge open spaces without which I would go insane.
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You make a film you feel is as real as possible and hope people react as though it were real.
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I am really interested in eccentric minds. It's rather like being fascinated by how cars work. It's really boring if your car works all the time. But as soon as something happens, you get the bonnet up. If someone has an abnormal or dysfunctional state of mind, you get the bonnet up.
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I'm really lucky in that I can do lots of different things. It must be really hard to just be a poet or just be a novelist - a constant cycle of effort and exhaustion and recuperation.