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I am simply not interested, at this point, in creating narrative scenes between characters.

Lydia Davis

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Lydia Davis
Age: 77
Born: 1947
Born: July 15
Linguist
Novelist
Translator
University Teacher
Writer
Northampton
Massachusetts
Point
Character
Scenes
Narrative
Characters
Interested
Scene
Creating
Simply

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As the writer, I may choose to ignore the emotional heart of the matter, and focus on details, and trust that the heart of the matter will be conveyed nevertheless.
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I don’t like to hurt people’s feelings, and I don’t like to knock other writers as a matter of principle.
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I think a lot of what goes into writing can be taught - not mixing metaphors, etc.
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When I'm trying a new form- trying to do something I'm not used to doing, which was true of the novel.
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The style developed over decades, really, but I started out writing pretty traditional stories, then became impatient. It was a writer named Russell Edson who showed me that one could write in any way at all.
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I worked more intensively hour after hour when I was starting out [writing]. More laboriously. I'd say quantity is important as well as quality, and if you're not producing enough, make a schedule and stick to it.
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I am basically the sort of person who has stage-fright teaching. I kind of creep into a classroom. I'm not an anecdote-teller, either, although I often wish I were.
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In some sense the text and the translator are locked in struggle - 'I attacked that sentence, it resisted me, I attacked another, it eluded me' - a struggle in which, curiously, when the translator wins, the text wins too.
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I never dream in French, but certain French words seem better or more fun than English words - like 'pois chiches' for chick peas!
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Do what you want to do, and don't worry if it's a little odd or doesn't fit the market.
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I don't believe, in the end, that there is any such thing as no style. Even a very neutral, plain style, one that doesn't use colloquialisms, lyrical flourishes, heavy supplies of metaphor, etc., is a style, and it becomes a writer's characteristic style just as much as a thicker, richer deployment of idiom and vocabulary.
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No one is calling me. I can’t check the answering machine because I have been here all this time. If I go out, someone may call while I’m out. Then I can check the answering machine when I come back in.
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I'm used to rereading e-mails, even, before sending them - a bit compulsive. So this is high speed roller coaster for me!
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That's the interesting thing about writing. You can start late, you can be ignorant of things, and yet, if you work hard and pay attention you can do a good job of it.
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I started writing the one-sentence stories when I was translating 'Swann's Way.' There were two reasons. I had almost no time to do my own writing, but didn't want to stop. And it was a reaction to Proust's very long sentences.
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I don't pare down much. I write the beginning of a story in a notebook and it comes out very close to what it will be in the end. There is not much deliberateness about it.
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Part of my mind is working on how to end the thing while I'm going on. You need at least two brains to write.
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But it is curious how you can see that an idea is absolutely true and correct and yet not believe it deeply enough to act on it.
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I find teaching - I like it, but I find just walking into the classroom and facing the students very difficult.
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To be simple, I would say a story has to have a bit of narrative, if only she says, and then enough of a creation of a different time and place to transport the reader.
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