Nonfiction Novel Quotes

Starting over can be the scariest thing in the entire world, whether it’s leaving a lover, a school, a team, a friend or anything else that feels like a core part of our identity but when your gut is telling you that something here isn’t right or feels unsafe, I really want you to listen and trust in that voice.

This is your life – not your parents’, teachers’ or significant other’s. If you ever find yourself on a path that just doesn’t feel safe anymore, you have every right to stop the car, get out – change your shoes and start walking.

I never want you to deny anything about yourself because you have grown up thinking it’s unacceptable or inconvenient for the people around you.

How you spend your time when you are not working or studying says everything about who you are and what is motivating your life.

The more novels you read, the better you were at reading other people’s emotions. It was a huge effect. This wasn’t just a sign that you were better educated—because reading nonfiction books, by contrast, had no effect on your empathy.

I don't really care for fiction." "How can you not? The best thing about reading is to escape from your life, to be able to live hundreds or even thousands of different lives. Non-fiction doesn't have that power- it doesn't change you like fiction does." "Change you?" He raises his brow. "Yes, change you. If you aren't affected somehow, even in the slightest bit, you aren't reading the right book. I would like to think that every novel I've read has become a part of me, created who I am, in a sense.

You battled monsters. You sweat and cried your way to this one prolific moment where you finally realize that those dark days and sleepless nights were pre-requisites to your becoming.

We are all born as storytellers. Our inner voice tells the first story we ever hear.

Being a Dream Girl is never going to be about what you look like or how much you weigh. After all, our physical appearances are just reflections of our inner worlds. What makes you a Dream Girl is your emotional sensitivity, your self-awareness, and your ability to communicate who you are effectively and compassionately in the world.

I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn't be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children's books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires.

Mystery readers were everywhere, voracious, highly partisan, and passionate. They were among the store’s best customers, and unfailingly polite. In private they embraced a bloodthirsty desire for vengeance and the use of arcane poisons and sneaky sleuthing, but in public they were charming and generous. Romance readers tended to be fun and have strong opinions. Nonfiction readers asked a lot of questions and were easily amused. It was the serious novel folks and poetry fans you had to watch out for.

We live in a world where there is such a clear definition of what a girl should be that it takes almost no effort at all to completely hate ourselves.

I never want a girl to lose all hope that her life can’t completely turn around, even if she feels that she is at the edge, standing on one foot, and ready to say goodbye.

Remember, nothing happens before it’s supposed to, so trust that, as you are striving for authenticity and personal excellence, the recognition of your life’s purpose is nearing closer.

I recommend readers to be adventurous and to try things they’ve never heard of or considered reading before. Get out of the comfort zone and discover something new and exciting. If you’d never be caught dead in the mystery section go and read some George Pelecanos, Dennis Lehane, Michael Connelly or many others. If you only read thrillers get deep into the literary fiction aisle and let yourself be seduced. If you only read non-fiction pick up a Ian McDonald novel or a Joyce Carol Oates novel. If you only read comic books, get acquainted with the great Charles Dickens or a certain Monsieur Dumas. Pick up something at random and read a page. Feel the texture of the language, the architecture of the imagery, the perfume of the style… There’s so much beauty, intelligence and excitement to be had between the pages of the books waiting for you at your local bookstore the only thing you need to bring is an open mind and a sense of adventure. Disregard all prejudices, all pre-conceived notions and all the rubbish some people try to make you think. Think for yourself. Regarding books or anything in life. Think for yourself.

It is usually unbearably painful to read a book by an author who knows way less than you do, unless the book is a novel.

Despite how lonely or broken down you might feel, we need you with us helping to make the world better, kinder and safer, especially for the little girls coming up.

When the guns fired in August 1914, did the faces of men and women show so plain in each other's eyes that romance was killed?

Your passions don’t have to connect to one another and no one needs to sign off on them. Passion isn’t logical… it’s only the fuel which keeps our souls alive. Let it be that simple.

My first novel was published by the first publisher I sent it to. And so I’ve been learning as I go, and I find it now rather embarrassing that people beginning the Discworld series start with The Colour of Magic and The Light Fantastic, which I don’t think are some of the best books to start with. This is the author saying this, folks. Do not start at the beginning with Discworld.

The best of fiction, as we know, of course, doesn't tell the truth; it tales the truth.

She might not have read many books. But when she reads a book, she swallows the very words. If you open the books on her shelves, you will find that the front and back covers encase white pages.

Nonfiction at its best is like fashioning a cabinet. It can never be a sculpture. It can be elegant and very beautiful, but it can never be sculpture. Captive to facts - or predetermined form - it cannot fly.

I read more than I had in years-novels, short stories, three long nonfiction books about how we had stumbled into the Iraq mess (the short answer appeared to have W for a middle initial and a dick for a Vice President).

As girls, we will do anything for the person whom we love. We will scale buildings in the rain or run through fire if it means saving our love’s life. There is absolutely nothing more life altering that the fire burning inside of our souls for the one we want most…

DECEMBER 26TH. The dog came to see me at eight o’clock this morning. He was very affectionate, poor orphan! My room will be his quarters hereafter.

The lively oral storytelling scene in Scots and Gaelic spills over into the majority English-speaking culture, imbuing it with a strong sense of narrative drive that is essential to the modern novel, screenplay and even non-fiction.

Even if we try to conform to ideals and strive for perfection, we will always be pulled back to our core identity because it’s the path of least resistance for our souls – an energy force that wants nothing more than for us to honor and accept who we are and discover what we’re meant to do in the world.

Words on a page are incomplete. The poem, the novel or the non-fiction pamphlet are finished when they are taken up and engaged with. Connection is collaborative. For words to have meaning, they have to be read.

I think it all basically breaks down to something like this: You have to look and feel great first. If you eat well, exercise and get enough sleep, you will have ample energy and the proper self-confidence to create and produce beyond your wildest dreams! Looking great and radiating positive energy, while presenting your highest quality work, is what will always make you the most valuable and only logical choice in whatever it is that you reach for.

Recognize that you have been chosen to be alive, right now, at this exact moment in time and know that none of that is random. There is something about you, your past or your future that is required at this exact moment in history. We need to know who you are and what you have been through.

The only way that you can identify and then fulfill your life’s purpose is for you to love yourself, charge up your life and serve the world.

The air up there in the clouds is very pure and fine, bracing and delicious. And why shouldn’t it be? — it is the same the angels breathe.

We made many trips to the lake after that, and had many a hairbreadth escape and bloodcurdling adventure which will never be recorded in any history.

There are not enough morally brave men in stock. We are out of moral-courage material; we are in a condition of profound poverty.

Jim Harrison’s novels, John McPhee’s nonfiction, Flannery O’Connor’s short stories, and the crime novels of John Sandford, Ken Bruen, and T. Jefferson Parker. His books

Can you identify the source preventing you from feeling good every single day, from loving yourself unconditionally and making your dreams come true? Is it a voice in your head or a gut wrenching ache that compromises your inner peace and doesn’t allow you to accept the love around you? Is there one thing, or maybe many things, keeping you from forgiving your past and moving forward, tormenting you with lies like “You don’t deserve real love so just settle for whatever you can get,” “You’re not smart enough to achieve your dream so don’t even try,” or “Look at your past… you should hate yourself way more than you actually do!”? Welcome to your Little Monster.

Although many things may still need to happen before you identify what your exact work will be, I know that every single person whom you’re meeting and every experience that you’re having is necessary to you discovering your purpose. They are points on a map leading you to the moment where a match will finally be lit and you will be able to see through the darkness.

Finding yourself and creating a life that feels authentic and safe is the hardest, most important work that we will ever do and for girls, especially young girls, there is no one more equipped to do this work.

Kuandika hadithi ni kitu kimoja. Kuweka kanuni za fasihi katika hadithi ni kitu kingine.

Kanuni za fasihi ndiyo msingi wa maandiko yote ya kitaalamu hapa ulimwenguni. Watu hawana budi kuzifuata kanuni hizo kama wanataka kutumia vipaji vyao katika ngazi ya kimataifa.

As it lay there with the shadows of the mountains brilliantly photographed upon its still surface I thought it must surely be the fairest picture the whole earth affords.

Ours is the “land of the free” — nobody denies that — nobody challenges it. [Maybe it is because we won’t let other people testify.]

as for good resolutions, I believed in them when I was young. They are the colours of hope’s rainbow.

Jonathan Safran Foer’s 10 Rules for Writing: 1.Tragedies make great literature; unfathomable catastrophes (the Holocaust, 9/11) are even better – try to construct your books around them for added gravitas but, since those big issues are such bummers, make sure you do it in a way that still focuses on a quirky central character that’s somewhat like Jonathan Safran Foer. 2. You can also name your character Jonathan Safran Foer. 3. If you’re writing a non-fiction book you should still make sure that it has a strong, deep, wise, and relatable central character – someone like Jonathan Safran Foer. 4. If you reach a point in your book where you’re not sure what to do, or how to approach a certain scene, or what the hell you’re doing, just throw in a picture, or a photo, or scribbles, or blank pages, or some illegible text, or maybe even a flipbook. Don’t worry if these things don’t mean anything, that’s what postmodernism is all about. If you’re not sure what to put in, you can’t go wrong with a nice photograph of Jonathan Safran Foer. 5. If you come up with a pun, metaphor, or phrase that you think is really clever and original, don’t just use it once and throw it away, sprinkle it liberally throughout the text. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 6. Don’t worry if you seem to be saying the same thing over and over again, repetition makes the work stronger, repetition is good, it drives the point home. The more you repeat a phrase or an idea, the better it gets. You should not be afraid of repeating ideas or phrases. One particularly good phrase that comes to mind is “Jonathan Safran Foer.” 7. Other writers are not your enemies, they are your friends, so you should feel free to borrow some of their ideas, words, techniques, and symbols, and use them completely out of context. They won’t mind, they’re your friends, just like my good friend Paul Auster, with whom I am very good friends. Just make sure you don’t steal anything from Jonathan Safran Foer, it wouldn’t be nice, he is your friend. 8. Make sure you have exactly three plots in your novel, any more and it gets confusing, any less and it’s not postmodern. At least one of those plots should be in a different timeline. It often helps if you name these three plots, I often use “Jonathan,” “Safran,” and “Foer.” 9. Don’t be afraid to make bold statements in you writing, there should always be a strong lesson to be learned, such as “don’t eat animals,” or “the Holocaust was bad,” or “9/11 was really really sad,” or “the world would be a better place if everyone was just a little bit more like Jonathan Safran Foer.” 10. In the end, don’t worry if you’re unsuccessful as a writer, it probably wasn’t meant to be. Not all of us are chosen to become writers. Not all of us can be Jonathan Safran Foer.

There is a great difference in boats, of course. For a long time I was on a boat that was so slow we used to forget what year it was we left port in. But of course this was at rare intervals. Ferryboats used to lose valuable trips because their passengers grew old and died, waiting for us to get by.

To this end it furnishes them an abundance of Catholic priests to teach them to be docile and obedient, and to be diligent in acquiring ignorance about things here below, and knowledge about the kingdom of heaven,

Well, but, good Master Richard,” resumed Matcham, “an ye like maids so little, y’ are no true natural man; for God made them twain by intention, and brought true love into the world, to be man’s hope and woman’s comfort.

I speak now, of course, in the supposition that the gentle reader has not been abroad, and therefore is not already a consummate ass. If the case be otherwise, I beg his pardon and extend to him the cordial hand of fellowship and call him brother. I shall always delight to meet an ass after my own heart when I shall have finished my travels.

Mere life is a luxury, and the color of the grass, of the flowers, of the sky, the wind in the trees, the outlines of the horizon, the forms of clouds, all give a pleasure as exquisite as the sweetest music to the ear famishing for it. The

The words died in Richard’s throat. He saw, through tears, the poor old man, bemused with liquor and sorrow, go shambling away, with bowed head, across the snow, and the unnoticed dog whimpering at his heels, and for the first time began to understand the desperate game that we play in life; and how a thing once done is not to be changed or remedied, by any penitence.

Then,” said Dick, “ye shall die unshriven. Here am I, and here shall stay. There shall no priest come near you, rest assured. For of what avail is penitence, an ye have no mind to right those wrongs ye had a hand in? and without penitence, confession is but mockery.

If you are of any account, stay at home and make your way by faithful diligence; but if you are “no account,” go away from home, and then you will have to work, whether you want to or not. Thus you become a blessing to your friends by ceasing to be a nuisance to them

In certain fiction, she perceives truths that she rarely finds in nonfiction; therefore, in her quest to better understand the world and the meaning of her life, she reads those novels that suggest a world of wonders, dark and light, forever unfolding for eyes willing to see.

It is most difficult to understand the disposition of the Bible God, it is such a confusion of contradictions; of watery instabilities and iron firmness; of goody-goody abstract morals made out of words, and concreted hell-born ones made out of acts; of fleeting kindness repented of in permanent malignities.

Sometimes you have to let go a little bit and travel the path of least resistance but this doesn’t mean that you quit when things get tough, as you are working towards a goal! It just means that you may only be able to see a rough draft of your final destination, right now, and that it’s safe to explore along the way.

The library is dangerous— Don’t go in. If you do You know what will happen. It’s like a pet store or a bakery— Every single time you’ll come out of there Holding something in your arms. Those novels with their big eyes. And those no-nonsense, all muscle Greyhounds and Dobermans, All non-fiction and business, Cuddly when they’re young, But then the first page is turned. The doughnut scent of it all, knowledge, The aroma of coffee being made In all those books, something for everyone, The deli offerings of civilization itself. The library is the book of books, Its concrete and wood and glass covers Keeping within them the very big, Very long story of everything. The library is dangerous, full Of answers. If you go inside, You may not come out The same person who went in.

Geraldine Brooks is the author of the Pulitzer Prize-winning novel March and the international bestsellers The Secret Chord, Caleb’s Crossing, People of the Book, and Year of Wonders. She has also written the acclaimed nonfiction works Nine Parts of Desire and Foreign Correspondence. Born and raised in Australia, Brooks lives in Massachusetts.

How about I tell you what I don't like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn't be - basically gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful - nonfiction only, please. I do not like genre mashups a la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and cross breeding rarely results in anything satisfying... I do not like anything over four hundred pages or under one hundred and fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and - I imagine this goes without saying - vampires.

A revolutionary army can sometimes win by enthusiasm, but a conscript army has got to win with weapons,

So singularly clear was the water, that where it was only twenty or thirty feet deep the bottom was so perfectly distinct that the boat seemed floating in the air!

Mr. Young observed that life was a sad, sad thing — ”because the joy of every new marriage a man contracted was so apt to be blighted by the inopportune funeral of a less recent bride.

It is a serious matter to shoot a working elephant–it is comparable to destroying a huge and costly piece of machinery–and obviously one ought not to do it if it can possibly be avoided.

More seriously-and this is probably why there has been a lot of garbage talked about a lost generation-it was easy to see, all over the landscape of contemporary fiction, the devastating effect of the Thatcher years. So many of these writers wrote without hope. They had lost all ambition, all desire to to wrestle with the world. Their books dealt with tiny patches of the world, tiny pieces of human experience-a council estate, a mother, a father, a lost job. Very few writers had the courage or even the energy to bite off a big chunk of the universe and chew it over. Very few showed any linguistic or formal innovation. Many were dulled and therefore dull. (And then, even worse, there were the Hooray Henries and Sloanes who evidently thought that the day of the yuppie novel, and the Bellini-drinking, okay-yah fiction had dawned. Dukedoms and country-house bulimics abounded. It was plain that too may books were being published; that too many writers had found their way into print without any justification for it at all; that too many publishers had adopted a kind of random, scattergun policy of publishing for turnover and just hoping that something would strike a cord. When the general picture is so disheartening, it is easy to miss the good stuff. I agreed to be a judge for "Best of Young British Novelists II" because I wanted to find out for myself if the good stuff really was there. In my view, it is...One of my old schoolmasters was fond of devising English versions of the epigrams of Martial. I remember only one, his version of Martial's message to a particularly backward-looking critic: "You only praise the good old days We young 'uns get no mention. I don't see why I have to die To gain your kind attention.

By a sarcasm of law and phrase they were freemen. Seven-tenths of the free population of the country were of just their class and degree: small “independent” farmers, artisans, etc.; which is to say, they were the nation, the actual Nation; they were about all of it that was useful, or worth saving, or really respectworthy, and to subtract them would have been to subtract the Nation and leave behind some dregs, some refuse, in the shape of a king, nobility and gentry, idle, unproductive, acquainted mainly with the arts of wasting and destroying, and of no sort of use or value in any rationally constructed world.

The events that may befall you tomorrow are not new or novel, and the emotions that you will experience have been felt by countless others throughout the crashing torrent of time. They survived. Why can’t you?

The medical uncertainty compounds patients' own uncertainty. Because my unwellness did not take the form of a disease I understood, with a clear-cut list of symptoms and a course of treatment, even I at times interpreted it as a series of signs about my very existence. Initially, the illness seemed to be a condition that signified something deeply wrong with me⁠—illness as a kind of semaphore. Without answers, at my most desperate, I came to feel (in some unarticulated way) that if I could just tell the right story about what was happening, I could make myself better. If only I could figure out what the story was, like the child in a fantasy novel who must discover her secret name, I could become myself again. It took years before I realized that the illness was not just my own; the silence around suffering was our society's pathology.

Fascism has nothing to do with capitalism. Fascism is just a kind of meaningless wickedness, an aberration, 'mass sadism', the sort of thing that would happen if you suddenly let loose an asylumful of homicidal maniacs.

I am thus led to the proposition that there is no fiction or nonfiction as we commonly understand the distinction: there is only narrative...A novel is a printed circuit through which flows the force of a reader's own life.

ROBERT MASELLO is the author of many previous works of fiction and nonfiction, most recently the novels Blood and Ice and The Medusa Amulet. A native of Evanston, Illinois, he studied writing under the novelists Robert Stone and Geoffrey Wolff at Princeton, and has since taught and lectured at many leading universities. For six years, he was the visiting lecturer in literature at Claremont McKenna College. He now lives and works in Santa Monica,

Glad to know about all of you who care about books, including or especially poetry. I'm a much published writer/editor of 12 books (medical nonfiction, literary novels, mysteries) and much short work, inc. prize-winning pieces.

When I agreed to give this address, I started trying to think what the best advice I'd been given over the years was. And it came from Stephen King twenty years ago, at the height of the success of Sandman. I was writing a comic that people loved and were taking seriously. King had like Sandman and my novel with Terry Pratchett, Good Omens, and he saw a madness, the long signing lines, all that, and his advice was this: "This is really great. You should enjoy it." And I didn't. Best advice I got that I ignored. Instead I worried about it. I worried about the next deadline, the next idea, the next story. There wasn't a moment for the next fourteen or fifteen years that I wasn't writing something in my head, or wondering about it. And I didn't stop and look around and go, This is really fun. I wish I'd enjoyed it more. It's been an amazing ride. But there were parts of the ride I missed, because I was too worried about things going wrong, about what came next, to enjoy the bit I was on. That was the hardest lesson for me, I think: to let go and enjoy the ride, because the ride takes you to some remarkable and unexpected places.

What do we actually consider to be “normal?" It’s only about what our conventional mentality is or isn’t able to understand, and agree to accept as “real.” In fact, the shadowy edge between normal and paranormal is more than ILLUSORY… The exact same can be stated about the border between calling your novel non-fiction or fiction. What if you could close your eyes and see different worlds and planets? What if you could see them with some kind of different vision, even with your eyes open? Would that make you a paranoid… a freak, a genius, a crazy? Or, maybe, an Indigo, if that’s what’s been happening to you since you can remember? If something unusual is what you really see and really feel, and if that’s what does happen to you in your real life, how is THAT called FICTION? One simple reason... that it’s the only way the society would agree to call it “normal,” based on the current level of development of their mentality.

We call that real problem the SHARD OF GLASS. It's a psychological wound that has been festering beneath the surface of your hero for a long time. The skin has grown over it, leaving behind an unsightly scar that causes your hero to act in the way they act and make the mistakes that they do (flaws!). You, as the author and creator of this world, have to decide how this shard of glass got there. Why is your hero so flawed? What happens to them to make them the way they are?

You do not conceive a novel as easily as you conceive a child, nor even half as easily as you create nonfiction work. A journalist amasses facts, anecdotes and interviews with top brass. Enough of these add up to a book. A novelist demands quite different things. He has to find himself in his materials, to know for sure how he would feel and act and the events he writes about. In addition, he requires a catalyst — a person, idea, or emotion which coalesces his ingredients and makes them jell into a solid purpose.

If the plot is a machine that allows you to get from set piece to set piece, and the set pieces are things without which the reader or the viewer would feel cheated, then, whatever it is, it’s genre. If the plot exists to get you from the lone cowboy riding into town to the first gunfight to the cattle rustling to the showdown, then it’s a Western. If those are simply things that happen on the way, and the plot encompasses them, can do without them, doesn’t actually care if they are in there or not, then it’s a novel set in the old West.

BERLIN, October 29 I’ve been looking into what Germans are reading these dark days. Among novels the three best-sellers are: (1) Gone with the Wind, translated as Vom Winde Verweht—literally “From the Wind Blown About”; (2) Cronin’s Citadel; (3) Beyond Sing the Woods, by Trygve Gulbranssen, a young Norwegian author. Note that all three novels are by foreign authors, one by an Englishman. Most sought-after non-fiction books are: (1) The Coloured Front, an anonymous study of the white-versus-Negro problem; (2) Look Up the Subject of England, a propaganda book about England; (3) Der totale Krieg, Ludendorff’s famous book about the Total War—very timely now; (4) Fifty Years of Germany, by Sven Hedin, the Swedish explorer and friend of Hitler; (5) So This is Poland, by von Oertzen, data on Poland, first published in 1928. Three

When I came to myself again, I said — ‘When I get so that I can do that, I’ll be able to raise the dead, and then I won’t have to pilot a steamboat to make a living. I want to retire from this business. I want a slush-bucket and a brush; I’m only fit for a roustabout. I haven’t got brains enough to be a pilot; and if I had I wouldn’t have strength enough to carry them around, unless I went on crutches.’ ‘Now drop that! When I say I’ll learn {footnote [‘Teach’ is not in the river vocabulary.]} a man the river, I mean it. And you can depend on it, I’ll learn him or kill him.

For most of us free-thinking, wild hearts, our relationship with God or the Universe will go through peaks and valleys – transforming into new concepts and beliefs, completely disappearing, at times, only then to instantly explode back into existence by something even as small as a sunset!

That was something else I owed Teddy White. I and others of my generation, who went from newspaper and magazine reporting to writing books, owed him a far greater debt of gratitude than most people realized. As much as anyone he changed the nature of nonfiction political reporting. By taking the 1960 campaign, a subject about which everyone knew the outcome, and writing a book which proved wondrously exciting to read, he had given a younger generation a marvelous example of the expanded possibilities of writing nonfiction journalism. As I worked on my own book, I remembered his example and tried to write it as a detective novel.

Herbert George Wells, better known as H. G. Wells, was an English writer best known for such science fiction novels as The Time Machine, The War of the Worlds, The Invisible Man and The Island of Doctor Moreau. He was a prolific writer of both fiction and non-fiction, and produced works in many different genres, including contemporary novels, history, and social commentary. He was also an outspoken socialist. His later works become increasingly political and didactic, and only his early science fiction novels are widely read today. Wells, along with Hugo Gernsback and Jules Verne, is sometimes referred to as "The Father of Science Fiction". Source: Wikipedia

About the question of whether it is a novel, he said that the project itself seemed like an interesting challenge: how to narrate factually and yet get “the lift of fiction.” After he said this, I thought about the word “lift,” since it seemed he was pointing out something that fiction might give and that nonfiction might not give.

It should know that any strange and much-talked-of event is always followed by imitations, the world being so well supplied with excitable people who only need a little stirring up to make them lose what is left of their heads and do things which they would not have thought of ordinarily. It should know that if a man jump off Brooklyn Bridge another will imitate him; that if a person venture down Niagara Whirlpool in a barrel another will imitate him; that if a Jack the Ripper make notoriety by slaughtering women in dark alleys he will be imitated; that if a man attempt a king’s life and the newspapers carry the noise of it around the globe, regicides will crop up all around.

Anthony Trollope, the nineteenth-century British writer, wrote for three hours every morning before going to his job at the post office. If he finished a book with ten minutes left in his three hours, he grabbed a blank sheet of paper and started the next book. He wrote forty-seven novels that way, plus many volumes of short stories and nonfiction.

Though a prose writer (of over fifty novels and a journalist and memoirist of forty books of nonfiction), Colette (1873–1954) lives on in literary history as the poet of the flesh—male, female, androgynous, young, aging, old, animal, vegetable. Proust, who praised her “voluptuous and bitter” soul, wept over some of her pages, André Gide “devoured [her] at a gulp.

Some people thought that novels were a kind of lie, because the stories and the characters were made up, but fiction could be a search engine with which you could find elusive truths and peel them layer by layer, especially those truths that writers of nonfiction rarely if ever considered, either because they did not believe such truths existed or because they did not want them to exist.

The Future is an illusion because, at the most fundamental level, Choice is an illusion. I am a believer in the theory, popular among physicists, that every time there is a Choice, the universe splits: both choices come to pass, but in now-separate universes. And so on, and on, with every choice of every particle, every atom, every molecule, every cell, every being, coming into being. In this universe of universes, everything happens, and every combination of things happens. Our universe is a mote of dust in an ever-growing dust-storm of possibilities, but each mote of dust in that storm is generating its own dust-storm of possibilities every instant, the motes of which in turn... But you get the general impression. Indeed to think of ourselves as single selves, and our universe as a single universe, is to be blinded, by the limitations of our senses and our consciousness, to the infinite-faceted truth: that we are infinite in a universe of universes that are each infinitely infinite..." "An intriguingly intricate view of the world," I said (...) Pat Sheeran nodded. "And it is astonishing how little practical difference it makes," he said. "All my other lives are as inaccessible to me as if they did not exist at all. No doubt in other universes I am a beggar, a revolutionary thinker, an academic, an accountant; a drinker, a thinker, a writer of books; I lose a freckle, gain a mole, shade off into men nothing like me at all; I have sons, fire guns, live forever, die too young. Whenever any particle in this universe changes state, I am split and travel in both directions, multiplied. But here I am, suffering the illusion of unity in this endlessly bifurcating moment. Yet sometimes, I wave my arms for the joy of creating a spray of universes." I said startled at the implications, “Though it may make no practical difference, the implications are nonetheless startling." "Indeed," said Pat Sheeran. "I had immediately to file all the fiction on my shelves under Non-Fiction. For it is an unavoidable corollary of this theory, that Fiction is impossible. For all novels are true histories of worlds as real as ours, but which we cannot see. All stories are possible, all histories have happened. I, billion-bodied, live a trillion lives every quantum instant. Those trillion lives branch out, a quintillion times a second, as every particle in every atom in each mote of dust on land, in sea, and sky, and space, and star, flickering in and out of being in the void, hesitates and decides its next stage. All tragedies, all triumphs, are mine, are yours." "It is a curious and difficult thing, to think that all is possible. No, probable. No, certain," I said, attempting to grasp the largeness of the thought."That nothing is improbable." "It is a comforting thought, some nights, to this version of me, now," said Pat Sheeran, and we roared on.

His grandeurs were stricken valueless: they seemed to fall away from him like rotten rags. The procession moved on, and still on, through ever augmenting splendours and ever augmenting tempests of welcome; but to Tom Canty they were as if they had not been. He neither saw nor heard. Royalty had lost its grace and sweetness; its pomps were become a reproach. Remorse was eating his heart out. He said, “Would God I were free of my captivity!

Other books depended less on personal contacts than on certain abiding concerns. Early in his career, Dreiser had become interested in a crime that he saw as a dark version of the American success motif: the murder of a woman who stood in the way of her lover’s dreams of social and material advancement through a more advantageous marriage. For An American Tragedy (1925) he investigated numerous case histories, many of them sensational murders involving well-known figures such as Roland Molineux and Harry Thaw. He finally settled on the 1906 Chester Gillette trial for the murder of Grace Brown that occurred in the lake district of upstate New York. The novel benefited from the popular interest in criminal biography, a form to which Dreiser’s masterpiece gave new life as the progenitor of documentary novels of crime such as Richard Wright’s Native Son, Truman Capote’s In Cold Blood, and Norman Mailer’s The Executioner’s Song. The Cambridge Companion to Theodore Dreiser

Dick!” she cried, “alas the day that ever ye should have seen me! For like a most unhappy and unthankful maid, it is I have led you hither.” “What cheer!” returned Dick. “It was all written, and that which is written, willy nilly, cometh still to pass. But tell me a little what manner of a maid ye are, and how ye came into Sir Daniel’s hands; that will do better than to bemoan yourself, whether for your sake or mine.” “I am an orphan, like yourself, of father and mother,” said Joanna; “and for my great misfortune, Dick, and hitherto for yours, I am a rich marriage. My Lord Foxham had me to ward; yet it appears Sir Daniel bought the marriage of me from the king, and a right dear price he paid for it. So here was I, poor babe, with two great and rich men fighting which should marry me, and I still at nurse! Well, then the world changed, and there was a new chancellor, and Sir Daniel bought the warding of me over the Lord Foxham’s head. And then the world changed again, and Lord Foxham

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

Read non-fiction. History, biology, entomology, mineralogy, paleontology. Get a bodyguard and do fieldwork. Find your inner fish. Don't publish too soon. Not before you have read Thomas Mann in any case. Learn by copying, sentence by sentence some of the masters. Copy Coetzee's or Sebald's sentences and see what happens to your story. Consider creative non-fiction if you want to stay in South Africa. It might be the way to go. Never neglect back and hamstring exercises, otherwise you won't be able to write your novel. One needs one's buttocks to think.

With his story in one’s mind he can almost see his benignant countenance moving calmly among the haggard faces of Milan in the days when the plague swept the city, brave where all others were cowards, full of compassion where pity had been crushed out of all other breasts by the instinct of self-preservation gone mad with terror, cheering all, praying with all, helping all, with hand and brain and purse, at a time when parents forsook their children, the friend deserted the friend, and the brother turned away from the sister while her pleadings were still wailing in his ears.

In a lending library you see people's real tastes, not their pretended ones, and one thing that strikes you is how completely the 'classical' English novelists have dropped out of favour. It is simply useless to put Dickens, Thackeray, Jane Austen, Trollope, etc. into the ordinary lending library; nobody takes them out. At the mere sight of a nineteenth-century novel people say, 'Oh, but that's OLD!' and shy away immediately. Yet it is always fairly easy to SELL Dickens, just as it is always easy to sell Shakespeare. Dickens is one of those authors whom people are 'always meaning to' read,

For all their shared boundaries, the experiences of fiction and nonfiction are fundamentally different. In the traditional short story or novel, a fictive space is opened up that allows you the reader to disappear into the action, even to the point of forgetting you are reading. In the best nonfiction, it seems to me, you’re always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out. This is certainly true for the essay, but it is also true, I think, for classic nonfiction in general, be it Thucydides or Pascal or Carlyle, which follows an organizing principle that can be summarized as “tracking the consciousness of the author.” What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph, and thematic problem it has set for itself. The other element that keeps me reading nonfiction happily is an evolved, entertaining, elegant, or at least highly intentional literary style. The pressure of style should be brought to bear on every passage. “Consciousness plus style equals good nonfiction” is one way of stating the formula.

If fiction provided the consolations of the mask, nonfiction provided, per Annie’s idea of it, the sensibility underneath the mask, irreplaceable and potentially of great value. The literary essay, as she saw it, was a moral exercise that involved direct engagement with the unknown, whether it was a foreign civilization or your mind, and what mattered in this was you. You are the only one of you, she said. Your unique perspective, at this time, in our age, whether it’s on Tunis or the trees outside your window, is what matters. Don’t worry about being original, she said dismissively. Yes, everything’s been written, but also, the thing you want to write, before you wrote

I can’t read fiction any more,’ Sergey said abruptly, looking not at my book, but at his beer. ‘Such a waste of time. I haven’t read a novel in years. There are so many interesting things to read about real life in newspapers and magazines or history books. Why bother reading something that someone made up?’ ‘I used to think like that,’ I said, disappointed by Sergey’s lack of interest. ‘But in the end, if you think about it, fiction is not that different from non-fiction. Non-fiction offers a very partial view of reality. When authors choose what to say and what to leave out, they are already distorting facts. Because the biggest chunk of any story, real or fictional, always remains untold.

How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.” Amelia blushes, though she is angry more than embarrassed. She agrees with some of what A.J. has said, but his manner is unnecessarily insulting. Knightley Press doesn’t even sell half of that stuff anyway. She studies him. He is older than Amelia but not by much, not by more than ten years. He is too young to like so little. “What do you like?” she asks. “Everything else,” he says. “I will also admit to an occasional weakness for short-story collections. Customers never want to buy them though.” There is only one short-story collection on Amelia’s list, a debut. Amelia hasn’t read the whole thing, and time dictates that she probably won’t, but she liked the first story. An American sixth-grade class and an Indian sixth-grade class participate in an international pen pal program. The narrator is an Indian kid in the American class who keeps feeding comical misinformation about Indian culture to the Americans. She clears her throat, which is still terribly dry. “The Year Bombay Became Mumbai. I think it will have special int—” “No,” he says. “I haven’t even told you what it’s about yet.” “Just no.” “But why?” “If you’re honest with yourself, you’ll admit that you’re only telling me about it because I’m partially Indian and you think this will be my special interest. Am I right?” Amelia imagines smashing the ancient computer over his head. “I’m telling you about this because you said you liked short stories! And it’s the only one on my list. And for the record”—here, she lies—“it’s completely wonderful from start to finish. Even if it is a debut. “And do you know what else? I love debuts. I love discovering something new. It’s part of the whole reason I do this job.” Amelia rises. Her head is pounding. Maybe she does drink too much? Her head is pounding and her heart is, too. “Do you want my opinion?” “Not particularly,” he says. “What are you, twenty-five?” “Mr. Fikry, this is a lovely store, but if you continue in this this this”—as a child, she stuttered and it occasionally returns when she is upset; she clears her throat—“this backward way of thinking, there won’t be an Island Books before too long.