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I'm a sucker for interiors and carefully, beautifully filmed people sitting in a big room. My appetites are simple.

Nicholson Baker

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Nicholson Baker
Age: 67
Born: 1957
Born: January 7
Novelist
Writer
New York City
New York
People
Interiors
Carefully
Appetite
Sitting
Room
Filmed
Rooms
Appetites
Simple
Sucker
Bigs
Beautifully

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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 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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Most writers are secretly worried that they're not really writers. That it's all been happenstance, something came together randomly, the letters came together, and they won't coalesce ever again.
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You almost believe that you will never come to the end of a roll of tape and when you do, there is a feeling, nearly, though very briefly, of shock and grief.
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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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There's a time and place for the Kindle, and I own one now and have books on it that I don't otherwise have. But I don't find that my hand reaches out for it the way it does for a trade paperback, or (in the middle of the night) for the iPod Touch.
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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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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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Wikipedia is just an incredible thing. It is fact-encirclingly huge, and it is idiosyncratic, careful, messy, funny, shocking and full of simmering controversies - and it is free, and it is fast.
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Shoes are the first adult machines we are given to master.
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You need the art in order to love the life.
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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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Updike was the first to take the penile sensorium under the wing of elaborate metaphorical prose.
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True, the name of the product wasn't so great. Kindle? It was cute and sinister at the same time - worse than Edsel, or Probe, or Microsoft's Bob. But one forgives a bad name. One even comes to be fond of a bad name, if the product itself is delightful.
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As soon as you start doing that - changing things - it seems self-evident to me that you've entered the world of make-believe. If you pretend that it's true, and use your own name, you are misleading people. Fiction is looser and wilder and sometimes in the end more self-revealing, anyway.
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Most good novelists have been women or homosexuals. The novel is the triumphant evolved creation, one increasingly has to think, of these two groups, who have cooperated more closely in this domain than in any other.
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Gandhi was important for another reason as well: his country was suffering under the British Empire, and yet he was leading a very singular kind of resistance to it. At the time he was speaking about the violence in Europe, his followers were in jail as prisoners of the British government.
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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 keep thinking I'll enjoy suspense novels, and sometimes I do. I've read about 20 Dick Francis novels.
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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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