Antonya Nelson Quotes

Readers will share in the environs of the author and her characters, be taken into the hardship of a pitiless place and emerge on the other side - wiser, warier and weathered like the landscape.

Teenagers, especially girl ones, seem like the perfect canary-in-the-coal-mine characters to me. They capture American culture and its perversion, its hypocrisy - how absorbed we are with youth and beauty and sexualized imagery, for instance, while preaching abstinence and modesty.

Most of what one feels compelled to write stems from a deep emotional uncertainty.

Writing is a completely private act. It's in a way like play but very serious play, and sometimes I can escape into the fictional world that I'm creating so fully as to see hours go by without my noticing it. I think that kind of suspension of time and that mindfulness is a real gift.

I grew up with parents who were English professors at Wichita State University, and we were more liberal-minded as a family than most of the people I hung out with in Wichita. During summers, we went off to Telluride, Colorado, where I've returned every summer since I was born.

I have three brothers and one sister, and I'm the third child. Sometimes people say, 'It's only natural you would become a writer - your parents were English professors.' But my four siblings were brought up in the exact same household, and no one else became a writer or an English professor.

I think about and study people. I think I make people uneasy sometimes by being so curious as to why they do what they do. I find myself thinking about this fairly obsessively, and I can't stop until I've found an answer.

There are a thousand things to hear about, informationally, daily, but the thing that doesn't go away is the one to pay attention to.

Fiction ought to announce the problems, dramatize the problems, display them. Yet offer no set answer. An answer would solve the mystery. Writing fiction, for me, is about putting on paper my obsessive interest in something mysterious. I may figure out the source of the mystery, the things that brought some action or image to my mind, but to make an equation of it would ruin the story.

Melissa Pritchard's prose, that darkly lyrical firmament, is brightened by the dizzy luminous arrangement of her stars and satellites, her great gifts to us: humor, irony, kindness, brilliance.

I like the way that psychological extremity can illuminate more 'normal' characters by forcing a comparison.

My father was among the first of his generation to look into writers who've become part of the American lit. canon. When he wrote his master's thesis on William Faulkner in the Forties, he couldn't find anybody on the faculty at Columbia University to oversee it because they didn't read Faulkner.

I guess the thing I would say most fervently is that your original impulse to write something is an impulse you should trust, and that if it doesn't work on the first draft, which it hardly ever does, the commitment to revising ought to be something you embrace really early. And to revise and revise and revise.

I definitely don't think of myself as someone identified by region. It's too far-flung a region, for starters, and southern New Mexico is very isolated. I wouldn't think of my identity as generational, either, but maybe as more stylistic, in the school of realism and domestic issues.

I want to earn a reader's capacity to be moved.

Our mother had faith in literature the way others had faith in God or America; she put herself in its hands the way patients did their physicians; she prescribed it, she preached it.

I think maybe short stories operate in some of the same ways that poems do. They frame single or small moments and elevate those. They give you insight into more minor dramas maybe, dramas between smaller groups of people.

If the book is finished - published and on the shelf - I do not think of revising it. But if I'm not finished psychologically with characters, they will recur, either as themselves or as new, slightly altered manifestations, and their same issues will reappear. It's a matter of the subject and emotional investment and my own obsessive thinking about various issues It's an unconscious process. To say that a single story is not done isn't quite true. A story can be finished and judged successful or not by somebody else, but if the issue is not done for me, I can count on its reappearance.

Finding pleasure in revision is the thing I would most strongly advise to people. It's not something I did as a younger writer; I learned it over time.

I like hearing other writers just about the way they approach writing. It gives me energy for my own work. It's weird; I'm always taking notes about fiction when I'm listening to people talk about craft.

Empathy is not as complicated when you have some aspects in common with your character; it's not impossible to know someone who's like you in many ways but different in one. This is true especially if you are a reader. Reading makes you accustomed to inhabiting other lives and sensibilities.