Guess quote

Philip Roth [1933-0] American

Rank: 101
Novelist

Philip Milton Roth is an American novelist.
He first gained attention with the 1959 novella Goodbye, Columbus, an irreverent and humorous portrait of American Jewish life for which he received the U.S. National Book Award for Fiction.

Age, Anger, Experience, Imagination

Quote	Tags	Rank
Old age isn't a battle; old age is a massacre.	Age	101
Sheer Playfulness and Deadly Seriousness are my closest friends.		102
People are unjust to anger - it can be enlivening and a lot of fun.	Anger	103
Obviously the facts are never just coming at you but are incorporated by an imagination that is formed by your previous experience. Memories of the past are not memories of facts but memories of your imaginings of the facts.	Experience, Imagination	104
Is an intelligent human being likely to be much more than a large-scale manufacturer of misunderstanding?		105
Unless one is inordinately fond of subordination, one is always at war.		106
I cannot and do not live in the world of discretion, not as a writer, anyway. I would prefer to, I assure you - it would make life easier. But discretion is, unfortunately, not for novelists.		107
Fear tends to manifest itself much more quickly than greed, so volatile markets tend to be on the downside. In up markets, volatility tends to gradually decline.		108
I write fiction and I'm told it's autobiography, I write autobiography and I'm told it's fiction, so since I'm so dim and they're so smart, let them decide what it is or it isn't.		109
A Jew without Jews, without Judaism, without Zionism, without Jewishness, without a temple or an army or even a pistol, a Jew clearly without a home, just the object itself, like a glass or an apple.		110
A Jewish man with parents alive is a fifteen-year-old boy, and will remain a fifteen-year-old boy until they die!		111
The road to hell is paved with works-in-progress.		112
History... is a nightmare from which I am trying to awake.		113
With the draft, everybody was involved. Everybody was fodder. When you got to be 21, 22 and graduated from college, for two years your life stopped. If you had been running in the direction of your life, you had to stop and do this other thing which was, if not menacing, just plain boring.		114
A writer has to be driven crazy to help him to see. A writer needs his poisons.		115
Literature isn't a moral beauty contest. Its power arises from the authority and audacity with which the impersonation is pulled off; the belief it inspires is what counts.		116
Nothing keeps its promise.		117
Just like those who are incurably ill, the aged know everything about their dying except exactly when.		118
When you publish a book, it's the world's book. The world edits it.		119
Should you protect profits? Yes. But run for the hills? No.		120
All that we don't know is astonishing. Even more astonishing is what passes for knowing.		121
Life is just a short period of time in which you are alive.		122
Fluency can be a sign that nothing is happening; fluency can actually be my signal to stop, while being in the dark from sentence to sentence is what convinces me to go on.		123
For all I know, I am beginning with the ending. My page one can wind up a year later as page two hundred, if it's still even around.		124
I work all day, morning and afternoon, just about every day. If I sit there like that for two or three years, at the end I have a book.		125
I don't ask writers about their work habits. I really don't care.		126
My traducers propound my alleged malefaction as though I have spewed venom on women for half a century. But only a madman would go to the trouble of writing 31 books in order to affirm his hatred.		201
As for the kind of writer I am? I am who I don't pretend to be.		202
As I see it, my focus has never been on masculine power rampant and triumphant but rather on the antithesis: masculine power impaired.		203
Writing, for me, was a feat of self-preservation. If I did not do it, I would die. So I did it. Obstinacy, not talent, saved my life.		204
At night, I read. I read for two hours. I just finished a marvelous book by Louise Erdrich, 'The Round House.' But mostly I read 20th-century history and biography. I lived then. I was either a child or at school or at work.		205
Writing is frustration - it's daily frustration, not to mention humiliation. It's just like baseball: you fail two-thirds of the time.		206
I needed my life as a springboard for my fiction. I have to have something solid under my feet when I write. I'm not a fantasist. I bounce up and down on the diving board, and I go into the water of fiction. But I've got to begin in life so I can pump life into it throughout.		207
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.		208
Making fake biography, false history, concocting a half-imaginary existence out of the actual drama of my life is my life.		209
I don't know any writer for whom it comes easily. Maybe John Updike - a story would just seem to come to him whole, you know, out of a personal experience. But the rest of us, I think, are not so lucky, and I had to work hard, yeah.		210
Of course you bank on your experience, but as a sounding board. It isn't that you write down what happens to you every day. You wouldn't be a writer if you did that.		211
It was my great problem to solve: how to write a book, you know. And after you write one, you have to write another to prove to yourself you can do it again.		212
Let me tell you about the nap. It's absolutely fantastic. When I was a kid, my father was always trying to tell me how to be a man. And he said - I was maybe nine - he said, 'Philip, whenever you take a nap, take your clothes off and put a blanket over you, and you're going to sleep better.' Well, as with everything, he was right.		213
I have no desire to write fiction. I did what I did, and it's done. There's more to life than writing and publishing fiction. There is another way entirely, amazed as I am to discover it at this late date.		214
The novelist's obsession, moment by moment, is with language: finding the right next word.		215
If I don't measure up as an American writer, at least leave me to my delusion.		216
You write differently in each book. It may appear to be similar to readers, but you're a different writer in each book because you haven't approached that subject before. And every subject brings out a different prose strain in you. Fundamentally, yes, you're contained as one writer. But you have various voices. Like a good actor.		217
That's what you're looking for as a writer when you're working. You're looking for your own freedom. To lose your inhibition to delve deep into your memory and experiences and life and then to find the prose that will persuade the reader.		218
Novel-writing is, for the novelist, a game of let's pretend.		219
To read a novel requires a certain amount of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel, really.		220
I think I write and publish as often as I do because I can't bear being without a book to work on... I don't feel I have this to say or that to say or this story to tell, but I know I want to be occupied with the writing process while I'm living.		221
I'm not good at finding 'encouraging' features in American culture. I doubt that aesthetic literacy has much of a future here.		222
Routinely, when I finish a book, I think 'What will I do? Where will I get an idea?' And a kind of low-level panic sets in.		223
For me, the passing of time has provided me with subjects I never had before. Subjects I can now look at from a historical perspective. Like the anti-communist era in America. I lived through that. I was a boy; I didn't find a way to write about it until many years later. The same with the Vietnam War.		224
I've stopped reading fiction. I don't read it at all. I read other things: history, biography. I don't have the same interest in fiction that I once did.		225
My goal would be to find a big, fat subject that would occupy me to the end of my life, and when I finish it, I'll die. What's agony is starting; I hate starting them. I just want to keep writing now and end when it ends.		226
I'm not angry; I write about angry characters. When I'm doing that, I'm happy. Just like when I'm writing about Mickey Sabbath being lustful, I'm not feeling lustful; I'm happy.		301
I'm an Obama supporter. And if you're an Obama supporter, that means you had a hard time during the Bush years.		302
I do the same kind of rewriting that I do in the shorts that I do in long books - and that is a lot. The book really comes to life in the rewriting.		303
I rarely, if ever, had another book in mind while I was writing the previous book. Each book starts from ashes, really.		304

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