Claire Messud

Quotes by Claire Messud

• It was supposed to say Great Artist on my tombstone, but if I died right now it would say such a good teacher/daughter/friend instead; and what I really want to shout, and want in big letters on that grave, too, is FUCK YOU ALL.

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• She wanted to remind him, whether his family was there or not. She wanted. And wanted. And endured in her wanting: the damp seat, the dry chicken, more champagne, the headache the champagne brought, the midges, the chat, his failure, no refusal, to look, look at me, I caused a thunderstorm with my passion and I sit here shaking under my skin and you don't notice because you're trying so hard not to notice, but all the people at the table there are really only you and me and you know it, the air is charged with it, it's a heat, a hot wind, and Marina and Seely are a sham next to it, Annabel ceases to exist, is simply obliterated in the gale of it, this isn't a fantasy, not my imagination, I can tell by the way you lift your fork, by the set of your jaw, by that sixth cigarette you are smoking me, or would if you could; but how long can we sustain it, how long till eruption, till the storm returns again and they can all see what it is, what it really is?

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• She wanted to remind him, whether his family was there or not. She wanted. And wanted. And endured in her wanting: the damp seat, the dry chicken, more champagne, the headache the champagne brought, the midges, the chat, his failure, no refusal, to look, look at me, I caused a thunderstorm with my passion and I sit here shaking under my skin and you don't notice because you're trying so hard not to notice, but all the people at the table there are really only you and me and you know it, the air is charged with it, it's a heat, a hot wind, and Marina and Seely are a sham next to it, Annabel ceases to exist, is simply obliterated in the gale of it, this isn't a fantasy, not my imagination, I can tell by the way you lift your fork, by the set of your jaw, by that sixth cigarette you are smoking me, or would if you could; but how long can we sustain it, how long till eruption, till the storm returns again and they can all see what it is, what it really is?

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• It was supposed to say Great Artist on my tombstone, but if I died right now it would say such a good teacher/daughter/friend instead; and what I really want to shout, and want in big letters on that grave, too, is FUCK YOU ALL.

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• I feel that I have an impractical and deleterious snobbery about the relation of literature to the market. I thought, 'I've become the kind of crap you buy at airports!' It was exciting, but it was not a fantasy I'd ever had.

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• If I had to summarize, most broadly, my concerns as a writer, I'd say the question 'How then must we live?' is at the heart of it, for me.

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• Obstruction can be caused by so many factors - perfectionism, distraction, faltering confidence, external demands and pressures. At some point, of course, you've got to push through it all if you're to write, and if you don't, or can't, you're sunk.

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• Sometimes I think about all the hours spent making lunches, carting kids from one place to another, being up in the middle of the night taking temperatures. People who haven't had to do that have, say, read every last book up there from cover to cover and probably remember it. There are trade-offs. But more life is more life.

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• I remember going to a son's friend's bar mitzvah, and the text that he chose to explicate was right at the beginning of Genesis. It was not about a fall from grace or a fall from perfection; it was about an awakening into consciousness, which is what it means to be human.

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• We think that we know people from this constellation of points: 'I know that story. I know that girl. I've heard that story a thousand times.' But actually, you never know that story.

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• For those of us whose thoughts digress; for whom unexpected juxtapositions are exhilarating rather than tiresome; who aim, if always inadequately, to convey life's experience in some semblance of its complexity - for such writers, the semi-colon is invaluable.

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• When I am teaching, I first give out Tolstoy's 'Childhood,' his first published book. It is so transparent. It gives you exactly what it was like to be on a Russian estate in 1830. You are there. And that is the hope when you sit down and write still, I think - that you can transmit something of what life is like now.

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• The effort to create a work of art that is true and potentially lasting, that is the very best work of art you can create at that point in your life - a book that may only reach or move a few people but will seem to those people somehow transformative. That's the ideal; that's always the motivation.

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• If you're writing a thriller, and you don't make it compelling, then you've really not done your job. So it's easier for me not to set out with certain goals, and then I can't see them as unmet. It's like life generally: If I'm not aiming to be physically fit, then I'm not always thinking about being unfit.

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• I was in my senior year of high school when I read 'Notes From Underground' by Dostoyevsky, and it was an exhilarating discovery. I hadn't known up until that moment that fiction could be like that. Fiction could say these things, could be unseemly, could be unsettling and distressing in that particular way, that immediate and urgent way.

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• If I hear a story or a fact about somebody I don't know and have never met, it's like getting a hollow vessel that you can fill up with whatever you want. That's more tempting to me than to try to replicate what I actually know.

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• Things we write down are the fragments shored against our ruins. They outlast us, these scraps of words on paper. Like the detritus from the tsunami washing up on the other side of the ocean, writing is what can be salvaged.

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• For me, the watershed was Hurricane Katrina. If that didn't get people out on the streets, then what will?

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