Eleanor Catton Quotes
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In researching 'The Luminaries,' I did read quite a lot of 20th-century crime. My favourites out of that were James M. Cain, Dassiell Hammett, Raymond Chandler and Graham Greene and Patricia Highsmith.
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The readership of Victorian novels, when they were published, was much less diverse. People were probably white, and had enough money to be literate. Very often, there are phrases in Italian, German and French that are left untranslated.
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I believe really strongly in imitation, actually: I think it's the first place you need to go to if you're going to be able to understand how something works. True mimicry is actually quite difficult.
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I've had countless reviews sort that have made me cry. It's funny, it doesn't ever get better either; you can't turn your ears off.
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There are a lot of people of my generation in New Zealand literature, young writers on their first or second books, that I'm just really excited about. There seems to be a big gap between the generation above and us; it seems to be quite radically different in terms of form and approach.
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My mum was a children's librarian, so I spent a lot of time in the library. My reading life, because of my mum's work, was evenly split between American, Canadian, Australian and British authors.
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I can feel the public side of my life and the private side of my life sort of drifting away from one another.
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I see disappointment as something small and aggregate rather than something unified or great. With a little effort, every failure can be turned into something good.
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'The Luminaries' is such a different book to 'The Rehearsal.' There are only a couple of things that link the two books: there's a certain preoccupation with looking at relationships from the outside, being shut out of human intimacy; and then there's patterning.
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I don't feel like literature has the power to alienate. I think that's something people feel if they don't connect with a work of art. But I don't think a work of art can actively reject the person who's looking at it or reading it.
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It is less fun to talk about what I am feeling rather than what I am thinking. Saying 'I feel awesome' isn't really interesting or enquiring.
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I think it's more optimistic about human nature to acknowledge that people are the products of their time but then to see that they have moments of grace and dignity that everybody has.
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I am a New Zealander, but I don't want to swallow New Zealand identity in one gulp.
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The books that really made an impact on me were not set in New Zealand. Some were New Zealand novels, but the New Zealandness of them was not what carried me or excited me.
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We throw at female artists this expectation that their work has to speak to the female experience. And if it doesn't, you're letting the side down. Throwing this stumbling block in the way of female artists is counterintuitive.
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Is the prestige conferred by the Man Booker prize for the book or me? I would prefer it on the book and for me to be treated ordinarily.
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I have written ever since I knew mechanically how to do it.
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I'm the rogue Canadian in my family – I just happened to be born here while my parents were studying here.
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Any description of a person that comes from the outside is very hard to deal with. People don't like being summarised. It's nice to receive a compliment, but it makes me feel a bit uncomfortable.
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I have always loved reading books for children and young adults, particularly when those books are mysteries.
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I feel very strongly influenced by long-form box-set TV drama... I feel really excited that, at last, the novel has found its on-screen equivalent, because the emotional arcs and changes that you can follow are just so much more like a novel, and so many amazing shows recently have done as much as film can do to show the interior world.
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I think that, in principle, a workshop is such a beautiful idea - an environment in which writers who are collectively apprenticed to the craft of writing can come together in order to collectively improve.
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I highlight everything I find interesting, and then type out everything I've highlighted, and then print out everything I've typed, and reread these printed notes as often as possible.
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In my experience, and that of a lot of other women writers, all of the questions coming at them from interviewers tend to be about how lucky they are to be where they are - about luck and identity and how the idea struck them.