Alice McDermott Quotes
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Most of the characters I write with don't think an awful lot about their faith. They're not always questioning the church or feeling confined by the church or rebelling against the church.
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In the act of reading, especially reading fiction, where a world is being created, all kinds of matters of belief come into play.
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Right away I think of two books - 'Wuthering Heights' and 'Rebecca' - and of just sinking into them as a young reader. I think they must have appealed not just to my romantic adolescent soul, but I suppose there's also an appealing darkness in both of them.
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I know Irish-American people. I know what their homes look like. I know what they have for dinner. I know how they turn a phrase.
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I wouldn't want to tweet to anyone who would be interested in my tweets.
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Character is primary. What happens as far as plot and events is not as intriguing to me as what's happening inside this particular person.
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After a long run of almost thirty years, you get to the point where you say, 'These are my concerns.' It's not so much this is what I set out to claim - it is a kind of refrain.
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The language of the Catholic Church - the liturgy, the prayer, the gospels - was in many ways my first poetry.
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I'm writing all the time. I tend to work on at least two books simultaneously. I'll spend time with one, and then I'll spend time with the other. Finishing takes whatever time it takes.
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No one looks at a baby and says, 'You are going to be a great novelist, and you really need to start writing now.' Something in us says: 'This is what I must do.'
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I learned really early on that I had to treat it as if it were a real job. This might be my middle class background - the Irish work ethic, which isn't quite the same as the Protestant work ethic - but still, it's, 'Get a job and show up every day. Be there. And don't complain. Who do you think you are: you're nobody special; go to work.'
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Our task as fiction writers isn't just to report something that didn't really happen. We have to give what we write a sense of reality. The tool of our tradition is language.
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The thing that fiction can do is look from the inside out rather than from the outside in. Even memoir leaves me somewhat frustrated. I think now we need a poet to uncover what isn't on the surface.
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You're a human being, and every time a list of prize nominations comes out and your name isn't on it, you do have that thumb-in-the-eye feeling.
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I am not a theologian or a historian, and I feel no call to become a defender of the faith, so in my case, the search for what remains valuable focuses on language itself: Catholic prayer, ritual, the naming of things.
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Family dynamics are true over time, across generations and different cultures.
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I believed in fictional characters as if they were a part of real life. Poetry was important, too. My parents had memorized poems from their days attending school in New York City and loved reciting them. We all enjoyed listening to these poems and to music as well.
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I was born in Brooklyn, but I never lived there.
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I think a misconception among many non-religious people is that anyone with a strong faith is, in all ways and at all times, blindly consistent, unwavering, unquestioning.
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I believe that the interior life is the same for all of us. And because they're steeped in faith, Irish-American Catholics are a people who have a language for the examined life.
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For me, having characters who are part of a faith then allows me to talk about how that faith either works or fails them without having to attack the institution.
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I do have friends in Pittsburgh, and I had some wonderful experiences there.
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My children have gone to Catholic school... Part of their whole education is talking about the inner life and looking at your life, even though you're only 15 or 16 - thinking about your mortality, thinking about the value of your life, thinking about your obligations.
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Any adjective you put before the noun 'writer' is going to be limiting in some way. Whether it's feminist writer, Jewish writer, Russian writer, or whatever.