Jennifer Egan Quotes
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I write with pen and paper, my first draft, on legal pads.
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I'm not reading what I write when I wrote. It's an unconscious outpouring that's a mess, and it's many, many steps away from anything anyone would want to read. Creating that way seems to generate the most interesting material for me to work with, though.
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I should say, I don't write about myself or my life. So for me, in fiction, it's always been about what I can dream up, that feels far away from me.
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I was obsessed with The Who. I would have accepted a marriage proposal from Roger Daltrey on the spot. I went to all of their shows in San Francisco and some in L.A. That was as close as I got to being a groupie.
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Sometimes I forget I have children, which is very strange. I feel guilty about it, as if my inattention will cause something to happen to them, even when I'm not responsible for them - that God will punish me.
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I think playing the glamour card is a disastrous error as a literary writer.
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I think the one thing that's changed over time is that I've come to realise, as a fiction writer, the fact that I don't think it will work out, doesn't mean that it actually won't.
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For me, New York is about anonymity; that's the draw. It's not at all about other people in my business being nearby. It's that I can get on the subway and eavesdrop on conversations that I would never have access to otherwise. That's why I stay. That's why I could never leave.
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I've been interested in terrorism from the very beginning. My first novel is about that, too, and I think one reason I've been so interested in terrorism is because I have a deep interest - one of my deepest interests - in image culture and how it works. And terrorism is an epiphenomenon of image culture.
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But I always need to identify with a character to write about him or her - and by 'identify,' I mean see the world through that person's eyes and have a strong sense of the inner logic of their acts and decisions, wacky or wrongheaded though they might be. In that sense, I think there's some of me in all of them.
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The music industry is an interesting lens through which to look at change, because it has had such a difficult time adjusting to the digital age.
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Training readers to expect a voice or subject matter from me would interfere with the reinvention I crave. At the same time, I feel almost too able to disappear at times.
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Nowadays I'm more interested in what you'd call 'alternative.' Lately we've been listening to a lot of Mumford & Sons, and Jenny Owen Youngs. I'm also pretty crazy about the Kings of Convenience, a Norwegian band that's been compared to Simon and Garfunkel.
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I felt unbelievably lucky to have the success I did with 'Goon Squad,' and I also felt the pressure of how fleeting that success can be.
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I love working with genre. And to me, the Victorian novel is the flourishing ancestor I'm always trying to access when I write.
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I did go on safari in Kenya when I was 17, with my mother, stepfather and little brother, and I kept a careful journal of the experience that was very helpful in terms of my sensory impressions of Africa. I have traveled quite a bit at distinct times in my life, though now that I have kids I've settled down.
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When I first had a child, I really had a hard time trying to figure out how it was all going to fit together. Because I felt like, when I was with him, I wanted to be writing and I should be writing. And when I was writing, I felt like I should be with him, and wanted to be with him. So I was unhappy a lot.
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We live in a moment and a culture when reading is really endangered. There's simply no way to write well, though, if you're not reading well.
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Not to brag, but I do think I've gotten pretty adept on PowerPoint... except that I can't figure out how to use Excel!
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If you read novels of the 19th century, they're pretty experimental. They take lots of chances; they seem to break a lot of rules. You've got omniscient narrators lecturing at times to the reader in first person. If you go back to the earliest novels, this is happening to a wild extent, like 'Tristram Shandy' or 'Don Quixote'.
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It's our job as fiction writers to provide a delight that nothing else can - to such a degree that people have no choice but to read our work. Now that's a very tall order, if not impossible. But why not try?
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'Goon Squad' took about three years to write and that's the short end. My second novel, 'Look at Me,' took six years.
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I'm embarrassed to say this, but I shy away from memoirs. My feeling is always that I'm saving them for later, so I guess that means I'll reach a point when I read nothing else.
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I'm partial to epic poetry, which might be surprising given that I don't write poetry at all. The combination of rollicking storytelling with musical language seems to me the highest achievement.