Jennifer Egan Quotes
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I have a tendency to coddle my sons because I want to keep them safe, but I also want them to be strong and independent and curious and bold, and I worry that my coddling is going to have exactly the opposite effect.
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As a journalist, I have wanted very much to find a way to write about the music industry, and it's been frustrating to me that that's never worked out.
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I grew up in the '70s, when people talked on the phone - and just talked more. I remember the phone was the epicenter of our house. I spent hours every evening as a teenager waiting for the phone to ring and talking to my friends.
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I listened to classic rock and roll, and punk rock. 'Goon Squad' provides a pretty accurate playlist of my teenage years, though it leaves out 'The Who,' which was my absolute favorite band.
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I think literary theory satisfied a deep love I have for big, encompassing narratives about the world and how it works - which are usually, in the end, more creative visions unto themselves than illuminating explanations.
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It's the feeling of being lifted out of my life into another world that is the thrill of writing fiction.
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I number my drafts, and by the time a book is done, I'll have 75 or 80 drafts of some sections.
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In the case of 'Goon Squad,' which sold slowly for a long time despite the good reviews, those 'best of 2010' lists were pivotal, and made the book really sell.
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I would go so far as to say that I mostly write terrible things. I mean, my first drafts are so appalling.
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One of my strengths as a writer is that I'm a good problem-solver. I write these unthinking, ungoverned first drafts. The project for me always is to turn that instinctive stuff into pages that work.
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I've never been that confident. I don't tend to think, swaggeringly, 'I'm going to ace this.' It's just not who I am.
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The book that is the closest genetically to 'Goon Squad' is 'Look at Me.' It has the futuristic element - although, freakishly, almost every aspect I invented has come to pass in some way, including the terrorist who fantasies about blowing up the World Trade Centre. That was extremely uncomfortable. The book came out on the week of 9/11.
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I spend so long writing each of my novels that by the time I'm done with one, I'm ready to discover a totally different world.
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You can research until you're falling asleep, but that still doesn't mean you're really fluent in the material.
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I think the big lesson I've learned is that it's very hard to write satire in America because almost immediately, whatever you've thought of turns out to come true, or sometimes it already was true.
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Time is always a component of place; you can't really talk about where without talking about when.
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When I pick up a book that's, you know, wreathed in laurels, I expect a lot, and that doesn't give the book its best chance to shine.
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To some degree, we're all thinking about the same things. It's the zeitgeist. The trick, in a way, as a writer, is to hope that your interests in some sense link up with the culture around you.
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When I think about a book like 'A Clockwork Orange,' which I really loved, the weird hybrid language is what I remember most.
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I'm not a technophobe, but I'm pretty old fashioned.
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People define themselves to some degree by the music that they listened to as teens. My mom had Elvis. Me, I had 'The Who' and later punk rock. Kids who came up in the '80s had other songs and bands. It's a way of placing ourselves culturally and temporally.
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I was not a punk rocker, absolutely not, but I certainly knew quite a lot of them, and I definitely went to the Mab - it was raw, interesting intense scene, so I was very drawn to it, but I was a total outsider.
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I have this dream again and again: I find extra rooms in the place where I live. You could say it's a very New York dream, but I think it's about writing - the feeling that there is something behind a wall or a door.
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Life itself is so surprising, a predictable story is unsatisfying.