Graham Swift quotes:

The real art is not to come up with extraordinary clever words but to make ordinary simple words do extraordinary things. To use the language that we all use and to make amazing things occur.

I had a fear of becoming anything, a fear of becoming a specialist. I might have become a doctor, but if you become a doctor, that's your specialty in life and you are defined by it. One of the attractions of being a writer is that you're never a specialist. Your field is entirely open; your field is the entire human condition.

My mother was a great bringer-up of children. My memories are of a sense of security and comfort.

All nature's creatures join to express nature's purpose. Somewhere in their mounting and mating, rutting and butting is the very secret of nature itself.

One of the things that probably drew me to writing was that it was something you could get on with by yourself. Publishing means going public. But the actual activity could scarcely be more invisible. And private.

There is a certain inescapable attachment. If you are born somewhere and circumstances don't take you away from it, then you grow up and remain within it.

I do my thinking while I walk. It just loosens up the mind in the way that you don't get when you are sitting at a desk.

Today's news, which may be yesterday's anyway, will be eclipsed tomorrow.

Novels, in my experience, are slow in coming, and once I've begun them I know I have years rather than months of work ahead of me.

I am struck by the way people behave on the Tube. They look at each other beadily and inquisitively, and something goes on in their thoughts which must be equivalent to the way dogs and other animals, when they meet, sniff each other's arses and nuzzle each other's fur.

I share my name with an aerobatic bird that can whiz across a whole summer sky in seconds. A swift is so equipped for speed that it can scarcely cope with being stationary.

In my work you often get an abrupt shift in time, a jolt. But the emotional logic will take the reader on. I hope. I trust. After all, our memories do not work with any sequential logic.

London is like no other city I know in its ability to become beautiful. You can suddenly turn a corner and there are odd moments - of light, of weather.

People die when curiosity goes.

It can be dismaying, all the same, for a novelist to compare the slowness of the writing with the speed of the reading. Novels are read in a matter of days, even hours. A writer may labor for weeks over a particular passage that will have its effect on a reader for an instant - and that effect may be subliminal or barely noticed.

The idea of stopping is not unmeaningful to me. I think there might be a time when, in theory at least, you'd say, 'Well I've mostly done what I want to do.' But how could you ever prevent a few years down the line some germ of an idea getting at you and you've got to do it again?

I tend to begin with what you might call the very small world of personal life. But I am certainly interested in how that small, intimate world connects or doesn't connect with a larger world.

All novelists must form their personal pacts in some way with the slowness of their craft. There are some who demand of themselves a 'rate of production,' for whom it's a matter of pride to complete, say, a book every year.

When I am writing, I'm very much on the ground, on the same ground my characters are treading.

Possibly he knew, as he wrote this, that he was mad - because inside every madman sits a little sane man saying 'You're mad, you're mad.'

The novel that's contemporary in the sense of being wholly 'of now' is an impossibility, if only because novels may take years to write, so the 'now' with which they begin will be defunct by the time they're finished.

I think what I like to do is to begin with the ordinary and find the extraordinary in it.

I can do hieroglyphics in the margin. There are days when I really enjoy the flow of ink. I mean, nice pen, ink straight on to the page.

Structure that really pays off is all based on emotion. I don't write down an elaborate plan. It's really done by feel. It's one area of my writing that I think I've got surer at as I've evolved.

I came from a lower-middle-class postwar family in a time of austerity and retrenchment, with no one in the family who was in any way artistic or a potential mentor to a budding writer, and yet this is what I became.

When anything goes digital, let alone something as immaterial as a book, there is a tendency to see it as just in the air to be taken, and to lose the sense that somebody once made it.

As a novelist, I suppose I can say that I'm highly articulate. But I know, as a person, in other ways, I'm not always articulate. I think we are all, from time to time, inarticulate, at some level, about some things.

There has always been, for me, this other world, this second world to fall back on--a more reliable world in so far as it does not hide that its premise is illusion.

What we wish upon the future is very often the image of some lost, imagined past.

My upbringing was absolutely not the archetypal writer's upbringing. Even, arguably, the opposite.

There's an undeniable thrill in seeing what's most current in our lives offered back to us in fictional guise, but it soon dates and it's never enough.

I'm not a writer who looks for the fantastic and the sensational. I like the world we've got. If there is anything special and magical, I have to find it in the ordinary stuff.

Ah, children, pity level-crossing keepers, pity lock-keepers - pity lighthouse-keepers - pity all the keepers of this world (pity even school teachers), caught between their conscience and the bleak horizon...

And I didn't know I loved her till I'd dreamt of her. I didn't know it was the real thing until an illusion had signalled it.

Children, be curious. Nothing is worse (I know it) than when curiosity stops. Nothing is more repressive than the repression of curiosity. Curiosity begets love. It weds us to the world. It's part of our perverse, madcap love for this impossible planet we inhabit. People die when curiosity goes. People have to find out, people have to know.

Children, only animals live entirely in the Here and Now. Only nature knows neither memory nor history. But man - let me offer you a definition - is the storytelling animal. Wherever he goes he wants to leave behind not a chaotic wake, not an empty space, but the comforting marker-buoys and trail-signs of stories. He has to go on telling stories. He has to keep on making them up. As long as there's a story, it's all right. Even in his last moments, it's said, in the split second of a fatal fall - or when he's about to drown - he sees, passing rapidly before him, the story of his whole life.

Happiness quells thought. And work quells thought.

How quick and rushing life can sometimes seem, when at the same time it's so slow and sweet and everlasting.

I don't reread my books.

I like the world we've got. If there is anything special and magical, I have to find it in the ordinary stuff.

I respond to the sound of London being spoken - to the sound of London.

I think the purveyors of e-books are only too happy for this atmosphere of 'everything belongs to everybody' to increase because it means they don't have to think so much about the original maker of the thing, or they can get away with paying them less.

If people read 'Tomorrow' and feel that it is offering them some view of my own household, they would be very, very wrong.

If you can't stand your own company alone in a room for long hours, or, when it gets tough, the feeling of being in a locked cell, or, when it gets tougher still, the vague feeling of being buried alive-then don't be a writer.

Literature is the voice of the human heart.

Of course there are times when I hate London, but equally there are times when I can walk 'round a corner and I really feel that this is my place.

Part of the very impulse of writing for me is actually wanting to get away from myself.

People die when curiosity goes.People have to find out, people have to know. How can there be any true revolution till we know what we're made of? 830

Pillow talk. It's how you know, it's how you tell, that something different, something special is happening: that this might even be the most important night of your life. Some day -some night- I hope you both may know it, with whoever it may be: the wish, stealing up on you, not to just merge bodies, but all you have, all your years, all your memories up to that point. And why should you wish to do that, if you haven't already guessed that your future too, will be shared?

Realism; fatalism; phlegm. To live in the Fens is to receive strong doses of reality. The great flat monotony of reality; the wide empty space of reality. Melancholia and self-murder are not unknown in the Fens. Heavy drinking, madness and sudden acts of violence are not uncommon. How do you surmount reality, children? How do you acquire, in a flat country, the tonic of elevated feelings?

Structure that really pays off is all based on emotion. I don't write down an elaborate plan. It's really done by feel. It's one area of my writing that I think I've got surer at as I've evolved. In my work you often get an abrupt shift in time, a jolt. But the emotional logic will take the reader on. I hope. I trust. After all, our memories do not work with any sequential logic.

There's this thing called progress. But it doesn't progress. It doesn't go anywhere. Because as progress progresses the world can slip away. It's progress if you can stop the world slipping away. My humble model for progress I the reclamation of land. Which is repeatedly, never-ending retrieving what it lost. A dogged and vigilant business. A dull yet valuable business. A hard, inglorious business. But you shouldn't go mistaking the reclamation of land for the building of empires.

What does education do, what does it have to offer, when deprived of its necessary partner, the future, and face instead with - no future at all?

You may have your suspicions, your fears, you may even believe there is something, somewhere, terribly, drastically wrong, but because someone else is in charge, because there is a part of the system above you which you don't know, you don't question it, you even distrust your own doubts.

That's the way it is: life inculdes a lot of empty space. We are one-tenth living tissue, nine-tenths water; life is one-tenth Here and Now, nine-tenths a history lesson. For most of the time the Here and Now is neither now nor here.

When people aren't expecting to be seen, they look their truest.