Hilary Mantel Quotes
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Beneath every history, another history.
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The things you think are the disasters in your life are not the disasters really. Almost anything can be turned around: out of every ditch, a path, if you can only see it.
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When you have committed enough words to paper, you feel you have a spine stiff enough to stand up in the wind. But when you stop writing, you find that's all you are - a spine, a row of rattling vertebrae, dried out like an old quill pen.
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For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
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When narratives fracture, when words fail, I take consolation from the part of my life that always works: the stationery order. The mail-order stationery people supply every need from royal blue Quink to a dazzling variety of portable hard drives.
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I am usually protective of my work, not showing it to anyone until it has been redrafted and polished.
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[Margaret Thatcher] said there was no thing such as society. This is what I find so interesting psychologically. Where did she come from? She had no mother. Her father came from a very identifiable background: religious, highly conformist.
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At New Year's he had given Anne a present of silver forks with handles of rock crystal. He hopes she will use them to eat with, not to stick in people.
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My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.
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Why are we so attached to the severities of the past? Why are we so proud of having endured our fathers and our mothers, the fireless days and the meatless days, the cold winters and the sharp tongues? It's not as if we had a choice.
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Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.'' But in the six years of writing that novel, I actually learned to write, to invent things.
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When I came to write my Thomas Cromwell books, I moved onto the center ground of English history, but I was never there before. I didn't feel it was my history particularly, coming from Northern Britain, being of Irish extraction, being a cradle Catholic. The image of England I grew up with felt somewhere else. There was an official England in postcards, but it wasn't one I had visited. But I decided to march onto the center ground and occupy it whether it was mine or not.
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When you are writing laws you are testing words to find their utmost power. Like spells, they have to make things happen in the real world, and like spells, they only work if people believe in them.
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Like a historian, I interpret, select, discard, shape, simplify. Unlike a historian, I make up people's thoughts.
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When you become published and become a reviewer, piles of books come along and you are pushed by fashion and what you are commissioned to do.
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If you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to music, meditate, exercise; whatever you do, don't just stick there scowling at the problem. But don't make telephone calls or go to a party; if you do, other people's words will pour in where your lost words should be.
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Wolf Hall attempts to duplicate not the historian's chronology but the way memory works: in leaps, loops, flashes.
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But an experienced reader is also a self-aware and critical reader. I can't remember ever reading a story without judging it.
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Margaret Thatcher aroused such strong loathing in so many people. That's the fact that interests me.
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Memory isn't a theme; it's part of the human condition.
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I didn't cry much after I was 35, but staggered stony-faced into middle age, a handkerchief still in my bag just in case.
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A statute is written to entrap meaning, a poem to escape it.
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The writer I adore is Ivy Compton-Burnett.I couldn't get more than a few pages in when I first read her. In many ways, she is very clumsy and her plots are rubbish. But we don't read her for that. There are pages and pages of dialogue. What it requires is real effort and attention.
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Though I have never thought of myself as a book collector, there are shelves in our house browsed so often, on so many rainy winter nights, that the contents have seeped into me as if by osmosis.