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Haven't you felt a peculiar sort of worry about the chair in your living room that no one sits in?
Nicholson Baker
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Nicholson Baker
Age: 67
Born: 1957
Born: January 7
Novelist
Writer
New York City
New York
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Rooms
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More quotes by Nicholson Baker
The nice thing about a protest song is that it takes the complaint, the fussing, the finger-pointing, and gives it an added component of sociable harmony.
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I'm suspicious of full-replacement programs - that is, pronouncements that one way of doing something will entirely supplant another, and that in fact we have to hurry the replacement along.
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I like shelves full of books in a library, but if all books become electronic, the task of big research libraries remains the same - keep what's published in the form in which it appeared.
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When I first wanted to be a writer, I learned to write prose by reading poetry.
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Poetry is prose in slow motion.
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Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge you can beef things up.
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I'm a sucker for interiors and carefully, beautifully filmed people sitting in a big room. My appetites are simple.
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I prefer reading e-books on a high resolution LCD screen - like the iPod Touch's - although the pixel density could and should be much higher.
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A bee rose up from a sun-filled paper cup, off to make slum honey from some diet root beer it had found inside.
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When I really want to be soothed and reminded of why people bother to fiddle with sentences, I often read poetry.
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I keep thinking I'll enjoy suspense novels, and sometimes I do. I've read about 20 Dick Francis novels.
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I wanted to apprentice myself to the dailiness of the war's beginning phase. It's truer and more frightening that way - when you're afloat on a little dingy in the midst of it all.
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Rarely do pens go dry in restaurants.
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Sometimes I think with the telephone that if I concentrate enough I could pour myself into it and I'd be turned into a mist and I would rematerialize in the room of the person I'm talking to. Is that too odd for you?
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I wrote about World War II because I didn't understand it. I think that's the reason that historians are drawn to any subject - there's something about it that doesn't make sense. I wanted to work my way through what happened slowly, and look at everything in the order in which it took place.
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You can tell it's a poem because it's swimming in a little gel pack of white space. That shows it's a poem.
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While I was writing I assumed it would be published under a pseudonym, and that liberated me: what I wrote was exactly what I wanted to read.
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I am closer to the pacifist side, in that I think that the British response to German aggression, which was to try to starve the Continent into a state of revolt and to terrorize German civilians with bombing raids, was part of the total catastrophe.
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I blush easily. I have difficulty meeting people's eye, difficulty with public speaking, the normal afflictions of the shy, but not to a paralysing degree.
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Some after-the-fact storytelling is inevitable, and, in fact, very good and useful. But then we want always to be able to enrich the stories, or maybe change the stories with a fresh infusion of specificity.
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