"Eleanor Catton"の名言

Love cannot be reduced to a catalogue of reasons why, and a catalogue of reasons cannot be put together into love.

In his person Gascoigne showed a curious amalgam of classes, high and low. He had cultivated his mind with the same grave discipline with which he now maintained his toilette—which is to say, according to a method that was sophisticated, but somewhat out of date. He held the kind of passion for books and learning that only comes when one has pursued an education on one’s very own—but it was a passion that, because its origins were both private and virtuous, tended towards piety and scorn. His temperament was deeply nostalgic, not for his own past, but for past ages; he was cynical of the present, fearful of the future, and profoundly regretful of the world’s decay. As a whole, he put one in mind of a well-preserved old gentleman (in fact he was only thirty-four) in a period of comfortable, but perceptible, decline—a decline of which he was well aware, and which either amused him or turned him melancholy, depending on his moods.

I vote far-left. I am frequently angered by corporate greed and think education ought to be free and teachers paid well.

I went to a state school in Christchurch, New Zealand, and then straight on to the University of Canterbury. But I worked part-time all the way through high school: first with a paper round, then at a fast-food outlet, a video store and a hardware store.

I grew up on the South Island of New Zealand, in a city chosen and beloved by my parents for its proximity to the mountains - Christchurch is two hours distant from the worn saddle of Arthur's Pass, the mountain village that was and is my father's spiritual touchstone, his chapel and cathedral in the wild.

My sense of injustice about our family's 'weirdness' in not owning a car was amplified by the fact that we did not own a television, either - my parents were unapologetic about this and told me very cheerfully that I would thank them for it when I was older, which was quite true.

I think that's what fiction writing is actually all about. It's about trying to solve problems in creative ways.

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.

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.

Often I listen to songs on repeat for days and days at a time. There's something hypnotic or meditative, and it mirrors the way that I am putting the sentence together, going back over the same phrases again and again.

To experience sublime natural beauty is to confront the total inadequacy of language to describe what you see. Words cannot convey the scale of a view that is so stunning it is felt.

I'm a Libra. I'm happy to be an air sign, but I do think I have a little too much air in my chart as a whole - some more water would be useful, especially in my personal life, as an emotional counterweight to all that abstraction.

I think that writers of literary fiction would do well to read more books for children.

One of the things I really like about Victorian novels is the close anatomisation of character. People's gestures and mannerisms and the quality of their thought is very closely identified and analysed.

Fiction is supposed to be immersive and supposed to be entertaining and narrative, so structures have to be buried a little bit. If they come foregrounded too much, it stops being fiction and starts being poetry - something more concrete and out of time.

A trip to the picture framer's, with a selection of prints, is the most joyous outing I can imagine. I've spent more money on framing than on anything else I own.

The way that I see astrology is as a repository of thought and psychology. A system we've created as a culture as way to make things mean things.

I don't see that my age has anything to do with what is between the covers of my book, any more than the fact that I am right-handed. It's a fact of my biography, but it's uninteresting.

I think the adverb is a much-maligned part of speech. It's always accused of being oppressive, even tyrannical, when in fact it's so supple and sly.

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.