Alice McDermott Quotes
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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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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.
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I'm very conscious of trying to make something epic out of something small and ordinary.
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I think place and time for me is often a matter of convenience, something I can use to another end rather than something I'm trying to define because it's somehow fascinating to me in itself. It's more what the place can do for the larger goals I have for the work.
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I'm interested in characters who should know better, who know they should give up, move on, accept life as it is, with all its constraints - life, death, time - but don't.
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I like that original romance of having a pen and a legal pad and going anywhere in the world and being able to write a novel with just those two things.
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I think it's handy for a dramatist of any sort, if I can call myself that, to make use of weddings and wakes, to make use of those moments and those rituals that cause us to pause and look back or look forward and understand that life has changed.
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My parents were both first-generation Irish Catholics raised in Brooklyn.
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A tendency to make metaphorical connections is an occupational hazard for those of us who write.
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I'm more interested in character than events. I've observed that about myself as a writer. I find events, even the most dramatic sort, not to be such fertile ground.
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I've always believed you go to literature to find the shared human experience, not the categorized human experience.
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As a writer, you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.
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Read everything. Write all the time. And if you can do anything else that gives you equal pleasure and allows you to sleep soundly at night, do that instead. The writing life is an odd one, to say the least.
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I read a little bit of nonfiction and a lot of poetry. I think of poetry as my shot of whiskey when I don't have time to savor a whole bottle of wine.
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Loss is inevitable - you have to be blind or naive to think otherwise.
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Those of us who know the transporting wonder of a reading life know that it little matters where we are when we talk about books or meet authors or bemoan the state of publishing because when we read, we are always inside, sheltered in that interior room, that clean, well-lighted, timeless place that is the written word.
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I don't want to write about violence, and I don't want to hang a plot on a murder. I think it's cheap.
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What interests me is whatever it is that allows the heart to continue to yearn for something the intelligence knows is impossible to have: a lost love, a shelter from life's blows, the return of a time past, even a connection to the dead.
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For immigrant generations especially, family is the first structure, or shelter, for a people who are in exile.
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I was the youngest; I had two imperious older brothers - I didn't get to often complete sentences at the dinner table. So writing was a way of saying what nobody asked me to say.
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I'm a coastal person. I grew up in Long Island and lived in San Diego. I felt landlocked in Pittsburgh. Psychically, it just wasn't the place for me.
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I have not won far more awards than I have won.
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Much of my experience with language was formed in the church, which has an oral tradition. There are lots of repetitions in prayers and song refrains. There's a sense of incantation, that if you call not once and not twice but for a third time, the spirit appears.
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I'm a novelist. I'm not a crusader, and I'm not an editorial writer. And I'm not writing fiction to convince anybody of anything.