Perhaps most beneficial to those who have an interest in writing and writers is the diversity of subjects encompassed in this volume.

It offers a peek into an artistic and cultural America that appears strikingly different from the one we encounter in the present day.

The majority of the interviews seem to be lacking in any profound understandings regarding the actual art of writing. Instead, they more frequently opt to discuss the business or the life that surrounds writing: who played a crucial role in bringing a manuscript to fruition, where a particular idea originated from, and so on.

If one desires to know what an author thinks about writing, it is advisable to read what he (or she, as there is a remarkable scarcity of female subjects in this collection) has written, repeatedly and continuously.

This way, a more in-depth and accurate perception of the author's thoughts and perspectives on writing can be obtained.

Loved this book.

One of the aspects that makes it so appealing is the novelty of the insightful interviews it contains. Interviews with literary giants like T.S. Eliot, Truman Capote, and Earnest Hemingway offer a unique glimpse into their minds and creative processes.

But what's truly remarkable is that even the interviews with writers I wasn't as familiar with, such as Robert Stone and Jack Gilbert, were really interesting.

I'm looking forward to moving on to the second volume soon.

Here's a running list of some terrific quotes from this book:

"I hate almost all rich people, but I think I'd be darling at it." - Dorothy Parker

"The most essential gift for a good writer is a built-in, shockproof, shit detector. This is the writer's radar and all good writers have had it." - Ernest Hemingway

Interviewer: What is a twerp in the strictest sense, in the original sense?

Kurt Vonnegut: It's a person who inserts a set of false teeth between the cheeks of his ass.

Interviewer: I see.

Kurt Vonnegut: I beg your pardon, between the cheeks of his or her ass. I'm always offending feminists that way.

"I was never a big fan of people who don't leave home. I don't know why. It just seems part of your duty in life." - Joan Didion

These quotes not only add a touch of humor and wisdom but also provide further insights into the personalities and perspectives of these great writers.

I can't help but think that our intense interest in the lives of artists is closely related to the artistry they display in living those very lives. We have a penchant for interviews as we are eager to observe the manner in which they have elected to construct and compose their lives. Maybe, deep down, we do this in the forlorn hope of infusing our own lives with a more purposeful and deliberate meaning. This entire collection appears to have captured a plethora of fantastically talented writers during their prime years (or, at the very least, during the periods when they were at their most captivating and interesting). It offers us a unique glimpse into their worlds, their thoughts, and their creative processes. Through these snapshots of their lives, we can gain a better understanding of the forces that shaped their art and perhaps even draw some inspiration for our own creative endeavors.

This is an incredibly fabulous book to have within your reach.

You may have already read numerous books written by these remarkable individuals. However, once you delve into these captivating interviews, a newfound sense of curiosity and admiration will wash over you.

The insights and perspectives shared in these interviews are so profound and engaging that they will make you yearn to revisit all of their works.

It's as if a whole new world of understanding and appreciation for their literary genius is being opened up before your eyes.

You'll find yourself eager to explore their stories, characters, and themes once again, armed with a deeper knowledge and a fresh perspective.

This book truly has the power to reignite your passion for the written word and the talented authors who bring it to life.

Whole Collection Equivalent to an English Degree

In the world of language learning, having a whole collection of resources can be considered equivalent to obtaining an English degree.

A comprehensive collection might include a vast library of grammar books, which provide in-depth explanations and examples of the rules that govern the English language. It could also consist of a wide range of literature, from classic novels to modern poetry, allowing learners to immerse themselves in different writing styles and cultural contexts.

Additionally, language learning software and online platforms can offer interactive exercises, language courses, and opportunities for communication with native speakers.

With such a diverse and extensive collection at one's disposal, learners can gain a deep understanding of the English language, its structure, and its usage.

They can improve their reading, writing, listening, and speaking skills, just as they would in a formal English degree program.

However, it's important to note that while a whole collection can be a valuable asset, it still requires dedication, effort, and consistent practice to truly master the language.

Half of the interviews in this first volume were with authors I have never read. It's truly an eye-opening experience. Some of the conversations were so engaging that they immediately piqued my interest and made me eager to explore their books. These interactions felt like a doorway to new literary worlds.

On the other hand, some of the interviews were just a beautiful provocation of the richness and peculiarity of the human mind and its perception of the world around. They made me stop and think about the diverse ways in which people view and interpret the world. It is always a good exercise to refer to some of the brightest minds in 20th century literature.

I am extremely happy to have the other three volumes as well. I can't wait to delve deeper into the thoughts and ideas of more remarkable authors. Each volume is like a treasure trove waiting to be discovered, and I'm excited to embark on this literary journey. :- )

\\t
From the events that have transpired, from the state of things as they currently exist, and from all the knowledge that you possess and all that which lies beyond your comprehension, you embark on a journey of creation. Through your inventive faculty, you fashion something that is not merely a replica or a representation but an entirely novel entity. This new thing is truer than any existing truth and more alive than anything alive in the physical world. You breathe life into it, infusing it with a vitality and essence that is uniquely its own. And if you are able to craft it with sufficient skill and artistry, you bestow upon it the gift of immortality. It will endure through the ages, a testament to your creative genius and a source of inspiration for generations to come.
(Hemingway)

I liked the book, but in my opinion, it has a huge gap: the total absence of interviews with female writers. And Carlos Vaz Marques had, if he understood it that way, names to choose from (even confined to the time limit of the 1950s and 1960s) - Isak Dinesen (also known as Karen Blixen), Dorothy Parker, Françoise Sagan (who was imposed on me at school with her "Bonjour Tristesse"), Simone de Beauvoir, Lillian Hellman, Mary McCarthy, Marianne Moore and Katherine Anne Porter. I agree that, unlike the names that appear in the book, most of these authors go unnoticed by the general public, but in my view, that would be yet another incentive to let at least a couple of them pass into the final edition: it would be an excellent way to introduce "new" authors to the national public... Well... It's for next time!

(You can read the full review on my blog: notadepagina.blogspot.com)

Finally dug it out from the corner of the bookcase and read it... I feel that the ones with the best recommendation effect are Henry Miller and Robbe-Grillet. Updike, Grass, and Eco are also good. Hemingway is amazingly smart, but as fans, we already know that such a dissolute writer is not to be trusted XDDD. PS, the interview with Stephen King is quite interesting, but the one with Haruki Murakami feels very boring...

I really enjoyed exploring the works and interviews of these writers. Each one has its own unique charm and style. Henry Miller's works are full of boldness and unrestrained expression, while Robbe-Grillet's experimental writing challenges the traditional narrative structure. Updike, Grass, and Eco also bring different perspectives and profound thoughts. Although Hemingway is smart, his personal behavior makes people question his credibility. As for Stephen King and Haruki Murakami, their interviews show their different personalities and creative ideas. Overall, this reading experience has been very rewarding.

44th book of 2021. There is no specific artist for this review, but there are portraits of the interviewees.

I have long been addicted to reading The Paris Review interviews. However, you can only read the first part of the interviews online before having to pay. I have read many beginnings. The Paris Review has published a number of interviews across four volumes, and I finally intend to read them in full. The sixteen writers in volume 1 are: Dorothy Parker, Truman Capote, Ernest Hemingway, T.S. Eliot, Saul Bellow, Jorge Luis Borges, Kurt Vonnegut, James M. Cain, Rebecca West, Elizabeth Bishop, Robert Stone, Robert Gottlieb (whose interview consists of many writers and G. himself), Richard Price, Billy Wilder, Jack Gilbert, and Joan Didion.

Overall, it is a fantastic selection. I have no interest in movies at all, so the screenwriting elements and essentially the whole of Wilder's interview were boring to me. There are some crossovers between writing prose and writing for the screen, no doubt, and so I read them. In fact, one of the best on-writing talks I ever saw was at my university by a J. Yorke, a screenwriter, who had incredible writing advice that was very transferable to the page. Of course, the standout interviews were by writers I have read and enjoy, such as Capote, Hemingway, Eliot, Vonnegut, Borges, Didion, etc. I have never read any Jack Gilbert but loved his interview and will definitely look to read some now. Likewise with Stone, who was partly in the Beat Generation's orbit. Here are just some highlights and bits I underlined below.

Dorothy Parker, when discussing her own generation of writers and influences, said, "But as for living novelists, I suppose, E.M. Forster is the best, not knowing what that is, but at least he's a semifinalist, wouldn't you think?" She claims to read Vanity Fair a "dozen times a year." She thinks Mailer's The Naked and the Dead is a "great book" and that Styron's Lie Down in Darkness is "an extraordinary thing."

Capote's interview is brilliant, and I underlined a great deal. He said, "Henry James is the maestro of the semi-colon. Hemingway is a first-rate paragrapher. From the point of view of ear, Virginia Woolf never wrote a bad sentence." He also said one of the most fascinating things I've heard about knowing when a story is finished: "The test of whether or not a writer has divined the natural shape of his story is just this: After reading it, can you imagine it differently, or does it silence your imagination and seem to you absolute and final?" I adore that idea of silencing the imagination. I've read about Capote's claims before, about his memory being 96% accurate or whatever he said, and here, his famous reading quote, "I average about five books a week—the normal-length novel takes me about two hours." He mentioned a number of his influences but said the "enthusiasms that remain constant: Flaubert, Turgenev, Chekhov, Jane Austen, James, E.M. Forster, Maupassant, Rilke, Proust, Shaw, Willa Cather—oh the list is too long, so I'll end with James Agee." What a list! And finally, his "personal quirks" are wildly interesting (and amusing).

Hemingway is a sour interviewee who answers some questions with things like, "I see I am getting away from the question, but the question was not very interesting." Or after answering one, he also said, "This is one of the dustiest clichés there is and I apologise for it. But when you ask someone old, tired questions you are apt to receive old, tired answers." Oh, Hem.

Eliot, on the other hand, comes across as affably as ever. Most interestingly, he replied to the question about Pound and if he cut whole sections from The Waste Land.

Bellow is also interesting and said, "I like Hemingway, Faulkner, and Fitzgerald." Another great list there. I've already quoted this in multiple reviews since reading this, but I'll quote it again, Bellow's response to someone talking about Henderson the Rain King, "He [a professor of Bellow's] said the subject was much too serious for fooling. I felt that my fooling was fairly serious." What a beautiful thought: the serious fooling of literature.

I'm going to have to transcribe the beginning of Borges' interview as it's delightful to read.

Borges later said, "I began to fear for my mental integrity—I said, Maybe I can't write anymore. Then my life would have been practically over because literature is very important to me. Not because I think my own stuff particularly good, but because I know that I can't get along without writing. If I don't write, I feel, well, a kind of remorse, no?" And you must excuse me, I must transcribe the end of the interview too.

Vonnegut's is another great interview that I could quote plenty from, but I'll stick with this one poignant line he said. "The raid didn't shorten the war by half a second, didn't weaken a German defence or attack anywhere, didn't free a single person from a death camp. Only one person benefitted—not two or five or ten. Just one." The interviewer asks, Who? "Me. I got three dollars for each person killed. Imagine that."

James M. Cain said, "Actually, the strange thing is that novels aren't written by young guys. I was saying that before. You have to wait for your mind to catch up with whatever it is it's working on then you can write a novel." And also, he mentioned the fact that Alice in Wonderland is "the greatest novel in the English Language."

West talks poorly of almost everyone, even saying Maugham "can't write for toffee," but how untrue is that? Of course, she is asked about her affair with H.G. Wells but she deflects it well, seems like a very intelligent woman.

Bishop is asked, As a young woman, did you have a sense of yourself as a writer? And she replies, I'm imagining, wistfully, "No, it all just happens without your thinking about it. I never meant to go to Brazil. I never meant doing any of these things. I'm afraid in my life everything has just happened."

Never read Stone, as I said, but I think I will now. Too much to quote again. As a big Kerouac fan, I only want to quote this.

There's way too much in the Gottlieb section, writers like Heller, Morrison, Caro, etc., all talking about him and their work and G. talking about them and their work in return. Price and Wilder talked a lot about screenwriting, the latter almost entirely, so I have no interest there, really. Gilbert was a joy to hear too, so I'll be reading some of his poetry, so honest and full of love and peace. His interview ends as.

And Didion speaks well, firmly, despite the loss she's suffered throughout her life. I'm looking forward to reading more of her this year.

Vol. 2 awaits me at some point.

One of the most insightful and interesting books I've ever read on the topic of writing is truly a gem.

It offers a plethora of perspectives and experiences from a diverse range of writers. What's fascinating is that the interviews with writers I didn't know were often even better than the ones with authors I was already familiar with.

Among the many remarkable individuals featured, I particularly enjoyed Dorothy Parker. Her wit and wisdom shone through in every word. Vonnegut, with his unique style and profound insights, was another favorite. Robert Gottlieb's contributions to the literary world were equally captivating. Billy Wilder's stories and experiences added a touch of Hollywood glamour to the mix. And Jack Gilbert, his poetry and thoughts on writing were simply inspiring.

This book is a must-read for anyone interested in the art of writing. It provides a wealth of knowledge and inspiration that will surely enhance one's understanding and appreciation of the craft.

I'm not sure anyone can tell you precisely how to write or offer an exact depiction of what the writing life is like without relying solely or mainly on their own personal encounters with the matter. For a single individual to compose a formulaic guide that suits all writing and all writers would be a futile endeavor.

This compilation of interviews with some of the finest writers of the past century circumvents that issue. It enables true masters to discuss their subjective experiences and opinions, one after another, without compelling absolute "truth" or ultimate wisdom from any of them. The outcome is a wealth of more useful information on the "How" of writing and writers in one place than I've ever discovered before, and all directly from the most highly respected sources obtainable.

I only wish I had been assigned this book in college, as it was published in the same year I took my first creative writing course. It would have been an invaluable resource during that formative time, providing insights and perspectives that could have enhanced my understanding and growth as a writer.