A. S. Byatt Quotes
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I am not an academic who happens to have written a novel. I am a novelist who happens to be quite good academically.
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I think there are a lot more important things than art in the world. But not to me.
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I'm more interested in books than people, and I always expect everybody else to be, but they're not.
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On buses and trains, I always think about the inexhaustible variety of human genes. We see types, and occasionally twins, but never doubles. All faces are unique, and this is exhilarating, despite the increasingly plastic similarity of TV stars and actors.
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There are things I take sides about, like capital punishment, which it seems to me there is only one side about: it is evil. But there are two or three sides to sexual harassment, and the moment you get into particular cases, there is injustice in every conceivable direction. It's a mess.
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I don't like gurus. I don't like people who ask you to follow or believe. I like people who ask you to think independently.
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I hated being a novelist when I was 20 - I had nothing to write about.
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Reading a newspaper is like reading someone's letters, as opposed to a biography or a history. The writer really does not know what will happen. A novelist needs to feel what that is like.
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In our world of sleek flesh and collagen, Botox and liposuction, what we most fear is the dissolution of the body-mind, the death of the brain.
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I think that most of the children's writers live in the world that they've created, and their children are kind of phantoms that wander around the edge of it in the world, but actually the children's writers are the children.
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Vocabularies are crossing circles and loops. We are defined by the lines we choose to cross or to be confined by.
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I think my characters with my fingers, I think my characters with my guts. But when I say I think them, that is what I do, I feel them with the sympathetic neurons and I work out with my brain what it is that I am trying to write about, or I can't do it.
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In my mind's eye, Shakespeare is a huge, hot sea-beast, with fire in his veins and ice on his claws and inscrutable eyes, who looks like an inchoate hump under the encrustations of live barnacle-commentaries, limpets and trailing weeds.
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Why do we take pleasure in gruesome death, neatly packaged as a puzzle to which we may find a satisfactory solution through clues - or if we are not clever enough, have it revealed by the all-powerful tale-teller at the end of the book? It is something to do with being reduced to, and comforted by, playing by the rules.
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Coherence and closure are deep human desires that are presently unfashionable. But they are always both frightening and enchantingly desirable. "Falling in love," characteristically, combs the appearances of the word, and of the particular lover's history, out of a random tangle and into a coherent plot.
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I like feeling my way into different minds and experiences. It comes naturally and always has.
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I think vestigially there's a synesthete in me, but not like a real one who immediately knows what colour Wednesday is.
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When I was a child - in wartime, pre-television - books were my life.
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I always say I write my own novels and the characters don't take control of me, but in fact, I look at the characters in the early stages and I think, 'What is he or she like,' and they slowly come together and they become the person they are.
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I don't understand why, in my work, writing is always so dangerous. It's very destructive. People who write books are destroyers.
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Biographies are no longer written to explain or explore the greatness of the great. They redress balances, explore secret weaknesses, demolish legends.
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I'd like to write the way Matisse paints.
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I don't think it is an easy thing to write and expect to be commercial, even if you are from Venus and a hermaphrodite.
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I think literary theory has not been terribly good for English studies in a while. It's not that theory isn't interesting, but it isn't about books, or the idiosyncrasies and complexities of putting language together.