Emily Barton Quotes

One of the things that's exciting for me about this novel is that, to me, Brookland and The Testament of Yves Gundron were both, in certain regards, crypto-steampunk. They're both books that are interested in an alternate technological past that in fact didn't historically come to pass. If you were to ask me what my novels were about, I would say, well, these are novels about technology and how we relate to technology and what technology means.

A novel is a way to rethink and rewrite and re-envision the past, and also a way to speak to people who haven't been born yet about what we think about right now.

I think that novels are one of the best means that we have to communicate both with the past and with the future.

A lot of people have come up after Brookland and asked, "What happens to her at the end of the novel?" and I will very politely say, well, here are the two possibilities.

Trying to talk through and figure out new answers really helps me figure out more about what I'm doing - and what we're all doing.

The problems that other writers encounter are so fascinating to me as a writer and as a thinker about writing. I have found that many times, my students are experiencing problems that I myself have experienced in my work, but the solution is different because they're different people.

Teaching and writing, really, they support and nourish each other, and they foster good thinking. Because when you show up in the classroom, you may have on the mantle of authority, but in fact, you're just a writer helping other writers think through their problems. Your experience with the problems you've tried to solve comes into play in how you try to teach them to solve their problems.

Historical fiction is a collaboration between the time in which it's written and the time that it's writing about and the far future, when we don't know what people are going to think about yet.

Nobody thinks that there were never mechanical horses in the world. Everybody knows that there aren't really golems.

I'm not for it [Brookland and The Testament of Yves Gundron ], I'm not against it, I'm just interested in it and how it functions, but I think that, in some senses, in those two novels, that was difficult for people to see.

[Michael] Chabon is arguing in favor of what is at the same time an old-fashioned and very forward-thinking opening up - of taking off the class associations with those labels, because we grew up, or I certainly grew up, feeling that, "Oh, there's literary fiction, and beneath that, there's these other things." He's actually saying that they're all of equal merit, and in many cases, that work in the genres, or work that draws from the genres is more entertaining for readers, since it is our job to entertain people.

[Michael] Chabon, who is himself a brash and playful and ebullient genre-bender, writes about how our idea of what constitutes literary fiction is a very narrow idea that, world-historically, evolved over the last sixty or seventy years or so - that until the rise of that kind of third-person-limited, middle-aged-white-guy-experiencing-enlightenment story as in some way the epitome of literary fiction - before that all kinds of crazy things that we would now define as belonging to genre were part of the literary canon.

There are as many different ways to write a novel as there are varieties of human consciousness, so I am totally delighted if people want to use words that come from genres to describe how this book functions because those words are accurate.

I do think that the idea of writer's block can be very self-defeating for most writers because it's taking a lot of things that are not only real problems, but that are manageable, solvable problems if you look at them in an individual fashion, and lumping them under the umbrella of something mysterious and vague, which makes it very, very difficult to address what's going on.

Maybe one of the reasons that I don't ever experience myself as having writer's block is I don't feel that I need to be producing every minute of every day.

If I don't write every day for one week or even, frankly, one year, I don't really think too much about that.

It would have been a hard year if I'd spent it berating myself for not working on the book.

I was working on the book, but in a very subterranean kind of a fashion. And I think that giving yourself permission to respect that, without being lazy and not doing work when you could be doing work and just don't feel like it - that's a different balance that can be complicated to strike.

I think that we're all always just working on finding how that balance functions for us, given today's circumstances.

The development of the plot of the novel leads to a single point, and it's my opinion that the ending that the novel has, which is a somewhat ambiguous ending, is the only logical ending given the structure of the book as a whole.

I feel that there is an alternate ending that leaps off too far into fantasy and there is an alternate ending that leaps off too far into pessimism, but that, in fact, the novel as it has developed should, if it's functioning correctly, have equipped you as the reader to make your own decision about where you want to go with that, about where you're going to fall on that continuum. So, the novel is taking you directly up to the point that you have to choose, and it's letting you do that.

Because I think of novels as collaborative enterprises between the writer and the reader, all of my novels so far have ending with endings that maybe point in more than one direction, and that seems important to me because it seems important to me that after you've invested twenty or thirty hours of your imaginative life into this narrative that you have some stake in how it ends.

Time is finite and the demands of the imagination and also the demands of the world are infinite, so sort of brokering some kind of agreement between those things is a continual, and for me, and ever-changing challenge.

It's very difficult, I think for most writers, to carve out the time and the kind of imaginative space to do the writing that you really want to do and also to be an active, engaged, compassionate, giving human being in the world, to the people around you and to your broader community.

I think that whether you've just begun writing or whether you've been writing for fifty years - I mean, I'm excited to get there and tell you about it when I do - I think that there's always the challenge of believing in yourself enough to get the work done and not being so taken with yourself that you're unwilling to continue to work on the work.

A good book is a good book, and there are a lot of different ways to approach writing or reading one.

I may be the person who put "dieselpunk" into the conversation. I have always been a reader who reads in a really broad way. I read genre writers and I read literary fiction and I read books by dead people.

As a Jewish thinker, I don't think of myself in relationship to the dominant culture's religion.

It's always the case for writers that when there are limitations, you have the opportunity for your creativity really to blossom and to become deeper and fuller and to move in directions that you wouldn't have discovered on your own.

We [me and husband ] had been learning about the Khazars, and I had read Michael Chabon's novel [Gentlemen of the Road] the year before, so all these things are kind of roiling around in my brain, and then I slipped on the ice and I broke my wrist, and it had to be surgically repaired.

I tend to think of writing as a more collaborative project than I think some people do.

I think about the collaboration between writers and readers, but I also think about the collaboration between all the writers in a generation or in a country or across time contributing to this massive project of documenting and reimagining our world.

Teaching is enormously satisfying because I'm constantly learning more. Just constantly being exposed to new voices and new life experiences and new worldviews and new structural dilemmas and new characters - it's really exciting for me.

As I continue to teach, I have more to offer my students, and as I continue to teach, I have more to learn from my students. I do know some writers who feel very drained when they leave the classroom, and for me this would be a sign that maybe it's time to take a break or refocus because I always leave the classroom even more excited than I was when I walked in.

Tom, my husband, who converted to Judaism when we got married, and as a consequence, we were learning about historical conversions to Judaism. Really, every time it pops up, it's very strange.