I think I got into travelling because it was so not in my blood, so against my tendency to just stay put because my dad just hated going on holidays, because, as I've said in many essays, the thing that he hated more than anything else in life was spending money. And as soon as you leave your home, you're spending money.
Geoff Dyer
Physical violence is always a bore in films today. We don't see how much it hurts. We don't learn the true consequences of it.
I don't read 'genre' fiction if that means novels with lots of killing and shooting. Even Cormac McCarthy's 'No Country for Old Men' seemed pretty childish in that regard.
If you're not religious, like me, how do you explain the transformational power that certain places have? They bring an incredible degree of attention to where you are and the passage of time. You're looking at every flower twitching, wondering if it's just the breeze or some magical pulse.
Now, instead of loading up your jalopy and heading for California, you take a second, badly paid job; 'The Grapes of Wrath' has turned into 'Nickel and Dimed.'
What I don't like is constructing a book that fits in with any kind of generic template, whether it's fiction or nonfiction.
I'm as strong and supple as a pane of thin glass. I've got too many ailments - left shoulder, left elbow and left wrist - in fact, the whole of the left arm.
I am still moved by passages of Marx: the 'Critique of Hegel's Philosophy of Right,' for example, where, after the famous line about religion being 'the opium of the people,' he goes on to call it 'the heart of a heartless world.'
What I've really liked doing is combining what you might call art criticism or music criticism with something that is happening in real life.
Once you've published a few books, you drag around this ball and chain of a back list. All the evidence of how few you've sold is there. I think a lot of writers my age have this strange experience of going from would-be to has-been.
It's one of these things that I've been struck by for so long about America. You know, this amazing politeness of American life that's not at all class specific. It's not like people get more polite as ascend the hierarchy of society. Just incredible good manners. It's always been something that I've noticed.
My evangelical phase about Burning Man is well and truly in the past.
The essence of my character is an inability to get used to things. This, in fact, is the one thing I have grown accustomed to: an inability to get used to things.
I'm incredibly competitive in all sports in a way that is so mystifying to my wife because she grew up playing the violin and piano. I've always been like that.
Cheever constantly voiced doubts about his writing. Reading 'The Naked and the Dead' made him despair of his own 'confined talents.'
I guess, when I left university, I liked the idea of being a writer, and I thought then that being a writer really meant that you were a novelist. But if one of the impulses for being a novelist is wanting to be a storyteller, I never had any urge to tell stories.
Sharing a room with one person is worse than sharing with six, and sharing with six is in some ways worse than sharing with sixty.
I could never write a book where the point-of-view character was a short person, because I just can't imagine what that's like.
Earnest people are always a bit on the thick side in my experience.
I'm never happier when writing than when I see gags taking shape - ideally, gags at my own expense. What I like is the shuttling back and forth, serious into comedy and vice-versa, ideally, both in the same sentence, or even simultaneously. The best jokes are always ideas in miniature.
Writing, for me, has always been a way of not having a career.
When I started writing, the deal was that publishers gave you a grand or two as an advance to buy some sweets, with the promise that they would make a big putsch with your fourth book when you'd built up a bit of a following. But by the time my fourth book came out, previously unpublished authors were the new big thing.
Once you've got through immigration, one is always made to feel very welcome in America, once they've let you in. It's a great place to be.
The CGI landscape is another world. It has its own physical laws; it can defy gravity. But surely the wonder of cinematic space is that it is wedded to reality?
I think I do have a sort of terrible propensity for boredom and for being bored, even though I am absolutely of the opinion that one shouldn't be bored and that there is no excuse for it and that it is a personal failing.
In history books, or the one about the guy who cut his hand off to get out of a canyon in Utah, you really want them to be accurate. But my stuff is such small beer by comparison.
I feel that form determines how readers read a book and how they judge it.
It would be nice to turn off that incessant churning of consciousness.
I do understand my limitations as a fiction writer, which is why my novels are always going to be close to home.
I was studying English, as you will, in the day, and five nights a week, I would be at the cinema. That continued throughout my 20s, which was also the 1980s - there was a lot of really good films coming out then.
We still go to nonfiction for content. And if it's well-written, that's a bonus. But we don't often talk about the nonfiction work of art. That's what I'm very interested in.
While admiring the pleasing evidence of wealth, we become complicit in - or, at the very least, recognize the extent to which we, too, are beneficiaries of - an economic system we routinely deplore.
The business of taking a book and transforming into a script to make this thing called a film - it's a mysterious process to me; sometimes it works.
I've always had this belief that you want to write about universal truths.
In terms of behaving in a civic way, I feel my behavior is always exemplary.
Have you ever stayed at the Four Seasons Hotel in Mumbai? I'd warmly recommend it. It's super luxurious, and right next door, there's a classic slum. So you can do a quick slum tour and get back to your sanctuary without any inconvenience but with some excellent snaps.
As soon as I hear that there's something to get used to, I know that I won't; I sort of pledge myself to not getting used to it.
There's one profound difference between secular and religious pilgrimages. It's inconceivable that a Muslim would feel a sense of anticlimax when reaching Mecca. But for a secular pilgrim, the potential for disappointment is always there.
Writers are not obliged to deal with current events, but it happens that the big story of our times - the al-Qaida attacks on New York and the Pentagon, and the subsequent wars in Iraq and Afghanistan - is being told in some of the greatest books of our time.
I've never been much drawn towards satire of any kind.
One of the great privileges of my life was growing up in a house without books.
We are moving beyond the non-fiction novel to different kinds of narrative art, different forms of cognition. Loaded with moral and political point, narrative has been recalibrated to record, honour, and protest the latest historically specific instance of futility and mess.
I love festivals, period.
The devastating scale and frequency of my disappointment was proof of how much I still expected and wanted from the world, of what high hopes I still had for it.
The series 'Generation Kill' is, along with everything else, a sustained critique of the structural and conventional fictions of 'The Hurt Locker.'
If you just take me as a fiction writer, then you're probably going to find me fairly limited.
Generally, I'm not anti the novel.
I didn't read much of anything till I was 15, except Alistair MacLean and Michael Moorcock - the sword and sorcery novels - when I was about 13 or 14.
I think that if you are a resolute, unswerving atheist, you have that sense that you are conscious of the God-shaped hole that has been left in the wake of any religious belief, and in a way, one is much more drawn to articulate why it is that certain places, or certain experiences, have a kind of power.
I'll be writing essays long after I've stopped writing fiction. There is this unusually broad range in the non-fiction, but if you look at what I'm capable of as a novelist, I'm more limited.
