Amy Waldman Quotes

Fiction just has a lot more room for ambivalence and internal conflict, contradiction, and for me that sums up so much of what people felt after 9/11 - confusion even. And I think that's hard to capture in journalism.

History is the history of human behavior, and human behavior is the raw material of fiction. Most people recognize that novelists do research to get the facts right - how a glove factory works, for example, or how courtesans in imperial Japan dressed.

While researching 'The Submission,' I went to a protest against the Ground Zero mosque in New York when I was about to give birth to twins. It was about 100 degrees. People thought I was very dedicated.

I found 'The Twin' sitting on a coffee table at a writers' colony in 2009. It carried praise from J.M. Coetzee. That seemed ample justification for using it to avoid my own writing. I finished it - weeping - a day later, and I've been puzzling over its powerful hold on me ever since.

Religious speech is extreme, emotional, and motivational. It is anti-literal, relying on metaphor, allusion, and other rhetorical devices, and it assumes knowledge within a community of believers.

She knew well the history of which they spoke because her father had been a part of it. When the military overseers of Pakistan had refused to allow the winning party in Bangladesh - then East Pakistan - to form a government, her father had put down his textbooks, left the university, and joined the fight. Hundreds of thousands, millions of deaths later, Bangladesh had its independence. His stories had made a deep impact on on Asma as a child. She had resolved to be as brave, only to learn that as a woman she wasn't expected to be.

As a novelist, you deepen your characters as you go, adding layers. As a reporter, you try to peel layers away: observing subjects enough to get beneath the surface, re-questioning a source to find the facts. But these processes aren't so different.

Tears filled Claire's eyes but, as if they knew their place, didn't leave.

His boast of irreligion stayed on his tongue,for what reasons he couldn't say,any more than he could say why words long unuttered floated unbidden into his mind:La ilaha illa Allah,Muhammad rasulullah.The Kalima,the Word of Purity,the declaration of faith.It almost made him laugh:at the moment he planned to disavow his Muslim identity,his subconscious had unearthed its kernel.

I read Claire Messud's 'The Emperor's Children,' I read Joseph O'Neill's 'Netherland' - but to me, they're not 9/11 novels. In 'The Emperor's Children,' 9/11 felt to me like a piece of the plot; the novel wasn't wrestling with what 9/11 meant. And 'Netherland' felt the same way. I liked both books a lot but I don't see them as 9/11 novels.

I'm kind of a mash-up of taste - Graham Greene and Jane Austen; W.G. Sebald and Alice Munro.

In Germany, you have a huge official memorial to the murdered Jews and then you have this artist who's been putting these stumbling blocks, these brass cobblestones, outside the houses Jews were taken away from. It's somewhat controversial and has met some resistance.

The rhetoric is the first step, it coarsens attitudes

I wasted years worrying about what other people thought.

Marrying Cal, the scion of a family whose wealth dated to the Industrial Revolution and had multiplied through every turn of the American economy since, ought to have eased her worries about failing to climb as high as she believed she deserved. But the money was his, not theirs. The unspoken power this gave him kept her from asking: Why don't you stay home?

Sorrow can be a bully.

Perhaps this was the secret to being at peace: want nothing but what is given to you.

In life, redemption was walking up the down escalator: stop to congratulate yourself, and back you slid.

Eden, paradise - all the best gardens are imaginary.

My children, who are almost two: watching them develop has made me pay much closer attention to how we become who we are.

As a reporter you tend to seek coherence from your subject or your source - it all needs to add up and make sense. In truth, in reality, there's often a great deal of murkiness and muddiness, confusion and contradiction.

I had been a reporter for 15 years when I set out to write my first novel. I knew how to research an article or profile a subject - skills that I assumed would be useless when it came to fiction. It was from my imagination that the characters in my story would emerge.

[s]he was a compulsive pessimist, always looking for the soft brown spot in the fruit, pressing so hard she created it.

Fabricating reality was criminal; editing it, commonplace.

There were in life rarely, if ever, "right" decisions, never perfect ones, only the best to be made under the circumstances.