19 Quotes by Tim Parks

He hams his Brummie accent, I tell myself, the way so many ex-pats ham their lost identity. The moustache is a pose. Yet, he hams this unpredictable matey belligerence, this curiously Midlands attitude. Colin is home away from home, I reflect, even if not the home you ever really liked.

But perhaps the greatest escapism of all is to take refuge in the domesticity of the past, the home that history and literature become, avoiding the one moment of time in which we are not at home, yet have to live: the present.

In general, though, one should never forget the role money plays in shaping the writer’s life, and the life inevitably informs the work. My own position is that I always want to convince a publisher to give me adequate money for what I want to do. At the same time, what I want to do is to arrive at full expression in a way that seduces, that pleases people in a way they didn’t expect to be pleased, or even want to be pleased.

Do books, after all, change anything? For all their proverbial liberalism, have they made the world more liberal? Or have they offered the fig leaf that allows us to go on as we were, liberal in our reading and conservative in our living. Perhaps art is more part of the problem than the solution; we may be going to hell, but look how well we write about it, look at our paintings and operas and tragedies.

Beneath all the chatter and the liturgy runs a fierce nostalgia for the literary myths of the past, for the gigantic figures of Dickens and Joyce, Hemingway and Faulkner. A writer can’t even aim at that kind of aura today. But it’s that yearning for imagined greatness that drives the whole literary enterprise. Plus the publishers’ desperation to manufacture a bestseller to pay the bills. The idea of greatness is a marketing tool. See Franzen.

Much is said about escapism in narrative and fiction. But perhaps the greatest escapism of all is to take refuge in the domesticity of the past, the home that history and literature become, avoiding the one moment of time in which we are not at home, yet have to live: the present.

To recount modern life one has to have characters with iPads and smart phones who take trains and planes, and to be aware how this alters consciousness, identity, and the kind of experiences people have. They are constantly exposed to contact from everyone they know and many they don’t.

Quando nasce un amore non si è mai a corto di argomenti.

You will only have copyright in a society that places a very high value on the individual, the individual intellect, the products of individual intellect.