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Graham Swift [1949-0] British
Rank: 102
Author, Writer


Graham Colin Swift FRSL is an English writer. Born in London, England, he was educated at Dulwich College, London, Queens' College, Cambridge, and later the University of York.

Amazing

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Today's news, which may be yesterday's anyway, will be eclipsed tomorrow.
101
The real art is not to come up with extraordinary clever words but to make ordinary simple words do extraordinary things. To use the language that we all use and to make amazing things occur. Amazing
102
My mother was a great bringer-up of children. My memories are of a sense of security and comfort.
103
All nature's creatures join to express nature's purpose. Somewhere in their mounting and mating, rutting and butting is the very secret of nature itself.
104
Possibly he knew, as he wrote this, that he was mad - because inside every madman sits a little sane man saying 'You're mad, you're mad.'
105
I share my name with an aerobatic bird that can whiz across a whole summer sky in seconds. A swift is so equipped for speed that it can scarcely cope with being stationary.
106
It can be dismaying, all the same, for a novelist to compare the slowness of the writing with the speed of the reading. Novels are read in a matter of days, even hours. A writer may labor for weeks over a particular passage that will have its effect on a reader for an instant - and that effect may be subliminal or barely noticed.
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There is a certain inescapable attachment. If you are born somewhere and circumstances don't take you away from it, then you grow up and remain within it.
108
London is like no other city I know in its ability to become beautiful. You can suddenly turn a corner and there are odd moments - of light, of weather.
109
People die when curiosity goes.
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I came from a lower-middle-class postwar family in a time of austerity and retrenchment, with no one in the family who was in any way artistic or a potential mentor to a budding writer, and yet this is what I became.
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One of the things that probably drew me to writing was that it was something you could get on with by yourself. Publishing means going public. But the actual activity could scarcely be more invisible. And private.
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Novels, in my experience, are slow in coming, and once I've begun them I know I have years rather than months of work ahead of me.
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I think what I like to do is to begin with the ordinary and find the extraordinary in it.
114
The novel that's contemporary in the sense of being wholly 'of now' is an impossibility, if only because novels may take years to write, so the 'now' with which they begin will be defunct by the time they're finished.
115
As a novelist, I suppose I can say that I'm highly articulate. But I know, as a person, in other ways, I'm not always articulate. I think we are all, from time to time, inarticulate, at some level, about some things.
116
When I am writing, I'm very much on the ground, on the same ground my characters are treading.
117
In my work you often get an abrupt shift in time, a jolt. But the emotional logic will take the reader on. I hope. I trust. After all, our memories do not work with any sequential logic.
118
My upbringing was absolutely not the archetypal writer's upbringing. Even, arguably, the opposite.
119
I had a fear of becoming anything, a fear of becoming a specialist. I might have become a doctor, but if you become a doctor, that's your specialty in life and you are defined by it. One of the attractions of being a writer is that you're never a specialist. Your field is entirely open; your field is the entire human condition.
120
Part of the very impulse of writing for me is actually wanting to get away from myself.
121
I don't reread my books.
122
The idea of stopping is not unmeaningful to me. I think there might be a time when, in theory at least, you'd say, 'Well I've mostly done what I want to do.' But how could you ever prevent a few years down the line some germ of an idea getting at you and you've got to do it again?
123
There's no such thing as the contemporary novel. Before I seem the complete reactionary, let me add that I've happily joined in many discussions about 'the contemporary novel' where what that usually, unproblematically means is novels that have appeared recently or may appear soon.
124
There's an undeniable thrill in seeing what's most current in our lives offered back to us in fictional guise, but it soon dates and it's never enough.
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The e-book does seem at the moment to threaten the livelihood of writers, because the way in which writers are paid for their work in the form of e-books is very much up in the air.
126
When anything goes digital, let alone something as immaterial as a book, there is a tendency to see it as just in the air to be taken, and to lose the sense that somebody once made it.
201
I think the purveyors of e-books are only too happy for this atmosphere of 'everything belongs to everybody' to increase because it means they don't have to think so much about the original maker of the thing, or they can get away with paying them less.
202
Unfortunately writers take a very small part of the profit on their books, and I think in the e-book world there is a real danger they will take even less, unless they are vigilant and robust about protecting their own interests.
203
All novelists must form their personal pacts in some way with the slowness of their craft. There are some who demand of themselves a 'rate of production,' for whom it's a matter of pride to complete, say, a book every year.
204
I do my thinking while I walk. It just loosens up the mind in the way that you don't get when you are sitting at a desk.
205
Of course there are times when I hate London, but equally there are times when I can walk 'round a corner and I really feel that this is my place.
206
I tend to begin with what you might call the very small world of personal life. But I am certainly interested in how that small, intimate world connects or doesn't connect with a larger world.
207
I respond to the sound of London being spoken - to the sound of London.
208
If people read 'Tomorrow' and feel that it is offering them some view of my own household, they would be very, very wrong.
209
Structure that really pays off is all based on emotion. I don't write down an elaborate plan. It's really done by feel. It's one area of my writing that I think I've got surer at as I've evolved.
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I'm not a writer who looks for the fantastic and the sensational. I like the world we've got. If there is anything special and magical, I have to find it in the ordinary stuff.
211
The pen is very quick for getting stuff from your brain to the page. I can do hieroglyphics in the margin. There are days when I really enjoy the flow of ink. I mean, nice pen, ink straight on to the page.
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