Dutch - Writer | April 13, 1960 -
Pathos and poignancy are, to me, tactics and techniques; in my work as a writer, I fetch them from my toolbox and use them as required.
Michel Faber
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The mere fact of my novel being filmed means very little to me. For a long while after 'The Crimson Petal's publication in 2002, it looked as though Hollywood was going to adapt it.
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When answering questions over the years about film and TV adaptations of my books, I have always maintained that no movie or TV series could ever change or damage my work.
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'The Crimson Petal and the White' is a book, and it will win or lose the trust of each reader when they begin reading its pages. That relationship will go on.
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In 1978, when I was 17 and in my first year at university, I read approximately 3,500 pages of Dickens.
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When we ask bureaucrats to identify who is responsible for fixing anything, they reassure us that there are 'procedures in place.'
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Modern politicians like Cameron dream of exerting paternal influence without being seen as paternalistic, of fostering moral behaviour without being considered moralistic.
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The privileged Victorians who did most to improve the lives of the poor were not ashamed of their pious intent: they were superiors seeking to help inferiors.
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A text may be superbly written, exquisitely subtle, deeply meaningful, but still seem like a luxury extra, something we add to the already well-stocked store of our reading experience.
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Very few stories embody a human truth so definitively that we cannot think of the truth without remembering the story and cannot imagine how people ever got by without it.
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By recycling pre-existing material, Shakespeare seemed to endorse a view common in his time, which has become even more entrenched in the 400 years since: that all the truly essential stories are already in the bag.
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I had been attempting novels since I was 14 but always ran out of steam. High hopes, poor craftsmanship.
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