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Dying in unfamiliar surroundings miles away from home, it cannot possibly be good. There is a great sadness about that I think.

Ian Mcewan

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Ian Mcewan
Age: 76
Born: 1948
Born: June 21
Author
Film Producer
Novelist
Playwright
Screenwriter
Writer
Belfast
Ireland
Think
Miles
Thinking
Sadness
Dying
Away
Cannot
Home
Unfamiliar
Great
Surroundings
Good
Possibly

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In that shrinking moment he discovered that he had never hated anyone until now. It was a feeling as pure as love, but dispassionate and icily rational.
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Especially difficult when the first and best unconscious move of a dedicated liar is to persuade himself he's sincere. And once he's sincere, all deception vanishes.
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I like to think that it isn't weakness or evasion, but a final act of kindness, a stand against oblivion and despair.
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She returned his gaze, struck by the sense of her own transformation, and overwhelmed by the beauty which a lifetime havit had taught her to ignore.
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I do have a very strong sense that most of the terrible things in life happen suddenly and unpredictably, and certainly can sweep you off in different directions, and that is always of interest to a novelist.
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But what really happened? The answer is simple: the lovers survive and flourish.
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When they kissed she immediately felt his tongue, tensed and strong, pushing past her teeth, like some bully shouldering his way into a room. Entering her.
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London in the '70s was a pretty catastrophic dump, I can tell you. We had every kind of industrial trouble we had severe energy problems we were under constant terrorist attack from Irish terrorist groups who had started a bombing campaign in English cities politics were fantastically polarized between left and right.
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Writing a novel resembles a journey with only the sketchiest of maps.
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The moment you lose curiosity in the world, you might as well be dead.
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She would simply wait on the bridge, calm and obstinate, until events, real events, not her own fantasies, roe to her challenge, and dispelled her insignificance.
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I'm sorry to say that far worse things have happened and the literature of the Holocaust is a witness to the capacity of the novel as a form.
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Not being boring is quite a challenge.
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A person is, among all else, a material thing, easily torn and not easily mended.
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You can spin stories out of the ways people understand and misunderstand each other.
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It's good to get your hands dirty a bit and to test how you see things at a given point. And it's very pleasing after writing something like 'Atonement' or 'On Chesil Beach,' which are historical, to get involved in some plausible re-enactment of the here and now.
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These were everyday sounds magnified by darkness. And darkness was nothing - it was not a substance, it was not a presence, it was no more than an absence of light.
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I did not kill my father, but I sometimes felt I had helped him on his way. And but for the fact that it coincided with a landmark in my own physical growth, his death seemed insignificant compared to what followed.
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For the professors in the academy, for the humanities generally, misery is more amenable to analysis: happiness is a harder nut to crack.
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