Cheever constantly voiced doubts about his writing. Reading 'The Naked and the Dead' made him despair of his own 'confined talents.'
— Geoff Dyer
The series 'Generation Kill' is, along with everything else, a sustained critique of the structural and conventional fictions of 'The Hurt Locker.'
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.
Despite what Wordsworth says about thoughts that 'lie too deep for tears', I think tears are a pretty reliable indication of being in the grips of a profound experience.
Practically everyone I know now is from a middle- or upper-middle-class background, and I no longer have the huge chip on my shoulder that I carried around for so many years. I'm not sure it comes out much in the work, but coming from this kind of background is absolutely central to my identity, to my sense of who I am.
Borrowing something from one art form and relocating it in another always has a whiff of pretension about it, like in books if, instead of 'Chapter One,' you have 'First Movement.'
In many ways, I was a typical young guy out of college. I was at Oxford, where every night there'd be a late showing of some great film.
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 ritual of film-going in some sense replaced that of churchgoing, because you share something communal, sometimes mystical.
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.
What I don't like is constructing a book that fits in with any kind of generic template, whether it's fiction or nonfiction.
In terms of behaving in a civic way, I feel my behavior is always exemplary.
For me, those little cinemas in Paris where I saw many art films for the first time meant that cinema became a kind of pilgrimage site.
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.
Contrary to popular belief, Oxford has the highest concentration of dull-witted, stupid, narrow-minded people anywhere in the British Isles.
We have in our heads a pretty well-defined narrative of the First World War, and there are certain events that are obviously key.
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.
Inevitably, most readers come to John Cheever's 'Journals' via his fiction. Whatever value they might have in their own right, their viability as a publishing proposition was conditional on the interest of the large readership of his novels and stories.
There is a thematic continuity here within Bigelow's work: 'The Hurt Locker' serves up a military equivalent of the thrill-trips that Lenny Nero was hustling in her earlier 'Strange Days.'
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.
There are the tears of rage when books get praised when they're so obviously garbage. But then there are so many more that continue to move me: the end of 'Paradise Lost,' 'The Ruined Cottage' by Wordsworth, Prospero's 'Our revels now are ended' speech near the end of 'The Tempest.'
For me, a great joke is an idea expressed in extremely concentrated form.
One of my great heroes, John Berger, he's in his 80s now. One of the reasons that he's remained young and all-around fantastic is his ongoing receptivity to new things. I think that's important.
My Tarkovsky idolatry was at its peak, but 'Nostalghia' really didn't do anything for me. 'The Sacrifice' was similarly disappointing for me. Next thing we knew, he was dead.
In the 1930s, photographers such as Walker Evans and Dorothea Lange produced images of sharecroppers and Okies, which drew attention both to the conditions in which these unfortunates found themselves and to their heroic fortitude.
Making the ordinary potentially magical is what film should be all about.
I've seen 'Stalker' more times than any film except 'The Great Escape.'
My evangelical phase about Burning Man is well and truly in the past.
In terms of target audience, who cares what a middle-aged guy like me wants; most mainstream are not catering to me at all.
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.
The person doing the learning is the person writing the book as much as the person reading it.
One of the great privileges of my life was growing up in a house without books.
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.
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.
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.
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 really have to give the Navy all the credit it deserves. They were so flexible and accommodating, given that everybody on board had better things to worry about than this person coming on board who's just going to be in the way, really.
I love festivals, period.
I like things that are funny and have a lot else in them besides that - ideas, for example.
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.
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.'
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.
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?
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.
I would probably, in my 60s, be ready to start having kids, as long as I was spared all the stuff about it that doesn't appeal to me. By then, I'd have lost interest in practically everything, so there'd be no opportunity cost involved.
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.
The only thing that changes in my novels are the locations.
There's something awful about Oxford, I think. It's such a little ghetto.
First, unreliability is not the sole preserve of fictional narrators. Second, the pleasure of patting oneself on the back for seizing on instances of unreliability and ignorance is, as the late Frank Kermode may or may not have pointed out, considerable.
You read 'Stalingrad' by Antony Beevor because you're interested in the Second World War or Russia or whatever.
