Джон Бэнвилл цитаты (97 цитат, страница 2) | Цитаты известных личностей

“I'm also lumbered with the title of being a writer's writer, which is the worst possible reputation you can have, because, of course, other writers don't read other writers except to gain evidence against them. And it puts readers off.”

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John Banville

John Banville: claiming Kafka as an Irish writer (2011)

“I don't see why the young in Prague or Budapest or Warsaw shouldn't be allowed to go to hell in a handcart if they want to. They do it everywhere else and they have great fun doing so.”

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John Banville

John Banville: Using words to paint pictures of "magical" Prague (2006)

“The white May blossom swooned slowly into the open mouth of the grave.”

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John Banville

The opening line of a juvenile and "dreadful imitation" of Joyce's Dubliners - John Banville http://www.guardian.co.uk/books/2008/jun/10/johnbanville?INTCMP=SRCH, The Guardian (22 July 2008).

“Art is like sex: when you're doing it, nothing else matters. Away from his desk the novelist can care deeply about the social, political, moral aspects of what he is writing but when he sits down to write, all those concerns fall away and nothing matters except the putting down of one carefully chosen word after another carefully chosen word, until a sentence is finished, then a paragraph, then a page, then a chapter, then a book. When I'm working I don't care about anything, not even myself. All my concentration is directed towards the making of the thing on the page. The rest is just stuff — even though it is the stuff of life.”

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John Banville

John Banville, The Art of Fiction No. 200 (2009)

“Summoned, one shuffles guiltily into the department of trivia.”

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John Banville

14th time lucky (2005)

“I am essentially a religious type. In my teens I gave up Catholicism, and at the same time I started writing. Writing keeps me at my desk, constantly trying to write a perfect sentence. It is a great privilege to make one's living from writing sentences. The sentence is the greatest invention of civilization. To sit all day long assembling these extraordinary strings of words is a marvelous thing. I couldn't ask for anything better. It's as near to godliness as I can get.”

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John Banville

John Banville, The Art of Fiction No. 200 (2009)

“Come, Benjamin, put your arm around me and we shall be comfortably one, mon semblable—mon frère!”

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John Banville

John Banville on the birth of his dark twin, Benjamin Black (2011)

“I would have failed, of course, but failure is the condition of the artist's life. What kind of failure would I have enjoyed, suffered? I know it was not all waste. My hopeless daubings taught me to look at the world with a painter's eye, despite the poor connection between eye and hand. And the smells of turpentine and linseed oil and paint-soaked rags still make my blood tingle. But words were my calling, and called to me, and I let fall the brush.”

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John Banville

My other life: John Banville http://www.guardian.co.uk/books/2008/nov/30/my-other-life-john-banville?INTCMP=SRCH, The Observer (30 November 2008).

“When young writers approach me for advice, I remind them, as gently as I can, that they are on their own, with no help available anywhere.”

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John Banville

How I Write: John Banville on ‘Ancient Light,’ Nabokov, and Dublin (2012)

“I always thought when I got older that I'd be jealous of my children but I'm not. It's the opposite. I love seeing their possibilities. Nothing makes me as happy as sitting at dinner with loved ones, having a glass of wine with a meal that I've cooked. What could be better?”

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John Banville

John Banville: Who cares whodunnit? (2013)

“I know that this is a cliché by now and I suppose that Prague people are sick and tired of hearing Prague referred to as ‘Magic Prague’, but, you know, I may complain about the tourists, but I am a tourist after all. I'd rather not be, but I am.”

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John Banville

John Banville: claiming Kafka as an Irish writer (2011)

“I suppose this is peasant food. You know, the workers in the fields needed these heavy dumplings and things to eat, but God don't offer them to me…”

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John Banville

John Banville: Using words to paint pictures of "magical" Prague (2006)

“Saramago is … interesting, but I don't think I would put it higher than that … [he] ventures too far into the realm of 'magic realism' for my taste. Reality itself is magical enough without inventing whimsicalities.”

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John Banville

Quote from The militant magician http://www.guardian.co.uk/books/2002/dec/28/featuresreviews.guardianreview11?INTCMP=SRCH, The Guardian (28 December 2002).

“Well, [Kepler] reminded me of myself – the little man running desperately in circles, trying to find an explanation for the world, for his place in it, to find a plausible system, to account for reality – and never finding it. Finding lots of rules and laws which are very important, but never actually finding his own way into what it is to be in the world – very much an existentialist before his time, I think.”

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John Banville

John Banville: claiming Kafka as an Irish writer (2011)

“Every novelist knows – perhaps everyone knows who has written even a letter, or a page of a diary – that the process of composition involves two separate sensibilities.”

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John Banville

John Banville on the birth of his dark twin, Benjamin Black (2011)

“[W]e would probably claim Kafka as an Irish writer. His tone of voice is certainly quite Irish: that sense of melancholy, that sense of strangeness and of being a stranger in the world. I think that we empathise with that very much indeed.”

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John Banville

John Banville: claiming Kafka as an Irish writer (2011)

“I'm very much against the notion of the Great Man, the Great Figure who is telling us all how to behave. Writers are just like other people, except slightly more obsessed.”

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John Banville

14th time lucky (2005)

“I write in what we call Hiberno-English, and it would be disastrous to lose my literary accent, as both Joyce and Beckett began to do in exile. In their case the unique tone of voice they each unwittingly adopted only made for a deeper poetic intensity; I suspect if I were to undergo a similar loss the result would not be so productive.”

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John Banville

How I Write: John Banville on ‘Ancient Light,’ Nabokov, and Dublin (2012)

“A work of art is not about something, it is something, in the same way that life is not something that has meaning, only significance. And art's intentions are entirely innocent – no comment, no opinion, no attempted coercion. All – all! – art attempts to do is to quicken the sense of life, to make vivid for the reader the mysterious predicament of being alive for a brief span in this exquisite and terrible world.”

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John Banville

Fully Booked: Q & A with John Banville (2012)

“Benjamin Black is a craftsman and these are crafted works. I'm very proud of them. I think they're well made, but Banville is doing something else – he's trying to make a kind of poetry, I suppose. I'm a perfectionist. It's an illness but a good illness. It's a completely different method of writing. Banville writes with a fountain pen on paper in a manuscript book and Black works straight on to the screen. It could take me a whole morning to write a few sentences as Banville, but as Black I'd be very annoyed if I didn't have at least two or three pages done. This drives crime-writers crackers because they think I'm saying that their craft is not worth it. I'm simply saying it's a different thing. I don't know why they worry when I talk about speed; after all, Georges Simenon wrote his books in about 10 days.”

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John Banville

John Banville: Who cares whodunnit? (2013)

“Saturday is a dismayingly bad book. The numerous set pieces—brain operations, squash game, the encounters with Baxter, etc. — are hinged together with the subtlety of a child's Erector Set. The characters too, for all the nuzzling and cuddling and punching and manhandling in which they are made to indulge, drift in their separate spheres, together but never touching, like the dim stars of a lost galaxy. The politics of the book is banal, of the sort that is to be heard at any middle-class Saturday-night dinner party, before the talk moves on to property prices and recipes for fish stew. There are good things here, for instance the scene when Perowne visits his senile mother in an old-folks' home, in which the writing is genuinely affecting in its simplicity and empathetic force. Overall, however, Saturday has the feel of a neoliberal polemic gone badly wrong; if Tony Blair — who makes a fleeting personal appearance in the book, oozing insincerity — were to appoint a committee to produce a "novel for our time," the result would surely be something like this.”

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John Banville

Banville on Saturday http://marksarvas.blogs.com/elegvar/2005/05/banville_on_sat.html, from The New York Review of Books (source dated 10 May 2005). Original source http://www.nybooks.com/articles/archives/2005/may/26/a-day-in-the-life/?pagination=false.