John Banville
117 quotes
Biography
"The past beats inside me like a second heart."
"We carry the dead with us only until we die too, and then it is we who are borne along for a little while, and then our bearers in their turn drop, and so on into the unimaginable generations."
"Ian McEwan is a very good writer; the first half of Atonement alone would ensure him a lasting place in English letters."
"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."
"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."
"If they give me the bloody prize, why can't they say nice things about me?"
"The white May blossom swooned slowly into the open mouth of the grave."
"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."
"I'm a little surprised that commercial success has arrived. I used to think that it was hopeless, that it would never happen."
"It's amazing what success will do. I've just started a new book after taking a break of a year and a half since finishing 'The Book of Evidence,' and I'm fascinated to see if I can detect in myself a voice saying, 'Tone that bit down; make that bit easier; give them a few laughs,' which would be absolutely fatal. I don't think it's happening, but you can't tell what's happening beneath the surface."
"I could have kept [writing "Irish" novels such as Birchwood] and probably had a good deal more success than I did, especially on this side of the Atlantic. But you have to try to do many things. You have to try to do things that you actually think you're incapable of."
"When I think back to then, from out of this sepulchral silence, I am aware of a ceaseless hubbub of voices loudly saying things no one seemed in the least inclined to listen to. It was the Age of Statements."
"Ah, what heights of contempt I was capable of in those days! Now, in old age, I have largely lost that faculty, and I miss it, for it was passion of a sort."
"I have always disliked the sea, its surliness, its menace, its vast reaches and unknowable, shudder-inducing depths."
"Diderot said that what we do is, we erect a statue in our own image inside ourselves—idealised, you know, but still recognisable—and then spend our lives engages in the effort to make ourselves into its likeness."
"But what comfort does belief offer, when it contains within it its own antithesis, the glistening drop of poison at the heart? Is the Pascalian wager sufficient to sustain a life, a real life, in the real world? The fact that you place your bet on red does not mean that the black is not still there."
"I suspect that significant first encounters only take on their aura of significance in retrospect."
"Man is only lovable in the multitude, and at a good distance."
"I have tried to explain to her that the concept of bravery is entirely spurious. We are what we are, we do what we do."
"I was pondering the question, which I have pondered before, of whether such great revelatory moments really so occur, or if it is only that, out of need, our lives so lacking in drama, we invest past events with a significance they do not warrant."
"All the talk now is of freedom and pride (pride!), but these young hotheads in their pink bell-bottoms, clamouring for the right to do it in the streets if they feel like it, do not seem to appreciate, or at least seem to wish to deny, the aphrodisiac properties of secrecy and fear."
"Let's not despise story-telling. Like all novelists, I have this low desire to tell people stories."
"If you look at practically anyone - I mean, I find this more and more - the more you look at people the more you find that they've actually manufactured themselves. People whose names that you know. I meet lots of people in my ordinary life, away from writing, who seem to be authentic, who seem to know where they've come from and who they are, but anyone that I deal with in, if you like, my profession, we all seem to have made ourselves. I think artists are all self-made."
"Ambiguity is the essence of Irish writing, I think."
"The older I get, the more confused I get. I used to think that age would bring wisdom. It doesn't, it just brings confusion. But I find that this confusion is artistically useful. It's a kind of progression, a negative progression. It's moving into areas that you didn't know were there. It becomes more dreamlike all the time. When I was starting out as a novelist, I would have been furious if anyone said to me that novels are dream-like or that they're doing things the novelist didn't know he was doing. Now, I find that it's absolutely true."