44 ordspråk av Jonathan Coe

Jonathan Coe

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Luckily, in my case, I have managed, by writing, to do the one thing that I always wanted to do.

I had no sense of any reputation that What a Carve Up! might acquire - at the time I didn't even have a publisher, so my main worry was whether it was even going to see the light of day or not.

It seems to me that you would have to write a novel on a very small, intimate scale for it not to become political.

So no, I'm pleased if it's been influential for many readers, but at the time I didn't even know that it was going to have any readers.

You would go mad if you began to speculate about the impact your novel might have while you were still writing it.

Also I had financial worries because it took four years to write and we were living off my wife's income all that time, which wasn't very great.

The writer I feel the most affinity with - you said you felt my books are 19th century novels, I think they're 18th century novels - is Fielding, Henry Fielding, he's the guy who does it for me.

But you can try to read books at the wrong time or for the wrong reasons.

I have two ideas for novels at the moment, neither of them all that conventional, but I'm not ready to choose between them yet, let alone settle down to the process of writing.

A biographer has to get as emotionally close to his/her subject as possible: otherwise the writing won't come to life at all.

Ah, well, I have no talent for nonfiction, that's my problem.

But I have always - ever since The Accidental Woman - written novels about individuals attempting to make choices in the context of situations over which they have no control.

Well, mainly it's because I'm not a writer who's comfortable with writing about periods that I can't remember firsthand.

I think it's also the case that I'm not as widely travelled, or as well-educated in history, as most of the other novelists I meet: so I have to write about my own country, at the present time, because it's more or less all I know about!

The biggest markets for my books outside the UK are France and Italy, and those are the two countries where I also have the closest personal relationships with my translators - I don't know whether that's a coincidence, or if there's something to be learned from it.

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