American - Novelist | March 18, 1932 - January 27, 2009
Arabic is very twisting, very beautiful. The call to prayer is quite haunting; it almost makes you a believer on the spot.
John Updike
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Eros is everywhere. It is what binds.
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America is a vast conspiracy to make you happy.
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The writer must face the fact that ordinary lives are what most people live most of the time, and that the novel as a narration of the fantastic and the adventurous is really an escapist plot; that aesthetically, the ordinary, the banal, is what you must deal with.
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From infancy on, we are all spies; the shame is not this but that the secrets to be discovered are so paltry and few.
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By the mid-17th century, telescopes had improved enough to make visible the seasonally growing and shrinking polar ice caps on Mars, and features such as Syrtis Major, a dark patch thought to be a shallow sea.
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Each morning my characters greet me with misty faces willing, though chilled, to muster for another day's progress through the dazzling quicksand the marsh of blank paper.
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Until the 20th century it was generally assumed that a writer had said what he had to say in his works.
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I was raised in the Depression, when there was a great sense of dog-eat-dog and people fighting over scraps.
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I suppose sequels are inevitable for a writer of a certain age.
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I seem most instinctively to believe in the human value of creative writing, whether in the form of verse or fiction, as a mode of truth-telling, self-expression and homage to the twin miracles of creation and consciousness.
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The cinema has done more for my spiritual life than the church. My ideas of fame, success and beauty all originate from the big screen. Whereas Christian religion is retreating everywhere and losing more and more influence; film has filled the vacuum and supports us with myths and action-controlling images.
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