Philipp Meyer quotes:

Nothing prepares you for making art except making art. You have to do it to get better.

We moved to Baltimore, Maryland, in 1979, when I was five. The funny thing is that, even though Baltimore had one of the top murder rates in the country in those days, I grew up hearing about how dangerous New York was.

I didn't know much about Texas when I moved there for graduate school. In my first or second semester, I took a class in life and literature of the Southwest, and that's where I first heard about these events along the border in 1915-1918, what Anglos called the Bandit Wars.

My ideal is to write most of the day, then go running, find friends and socialise all evening; my mind recharges with human contact.

At 16, I dropped out of school and spent five years working as a bicycle mechanic and volunteering in a Trauma Centre before ultimately deciding to go to university.

When you hold things back, when you don't commit completely to your ideas and trust completely in your own instincts, you are guaranteeing your own failure - even if you end up having commercial success.

I'd grown up in a working class neighborhood in Baltimore, a place hard hit by the offshoring of numerous heavy industries - steel, textile, shipbuilding.

When you look at 'Grapes of Wrath,' the weakest moments are those in which Steinbeck is spouting a political idea directly at the reader. The book's real power comes from its slower, broader movement.

You have to believe in yourself and only trust your own vision and instincts. If I'd listened to what other people thought about my work in the first 10 years that I was a writer, I never would have made it to begin with.

Texas was mostly short-grass and tall-grass prairie when modern Europeans arrived here. It really was a land of milk and honey. But when they brought all these cattle onto these relatively small bits of land, and the cattle were allowed to graze freely, they essentially destroyed the prairie.

There's a reason that all societies and cultures and small bands of humans engage in myth-making. Fundamentally, it is to help us understand ourselves.

If you're always thinking about someone else's work, about the tradition you're working in, how can you possibly make anything good?

After I finished college, I got a job on Wall Street as a derivatives trader, but after a couple years of it, I was calling in sick in order to work on my novel.

At Cornell University, it was well known that after five years on Wall Street, you could expect to be making half a million a year in salary and bonus; after 10 years, you could expect a million or more. I had 60 grand of university debt, and my parents had no retirement. I needed that money.

I didn't fit the typical profile of a trader. I was an English major working on a novel at night. Most everyone else was a maths or economics major; most everyone else had relatives or family in banking.

I thought that I would have a huge literary novel coming out when I was, like, 29. I quit my banking job, and I was halfway through my second novel - and I will never publish it, because it's very mediocre.

I was a bit of a delinquent growing up, a very poor student - I nearly failed several grades before dropping out of high school and getting a G.E.D. But I still read a lot. Thrillers and war novels, mostly, along with the occasional literary novel from my parents' bookshelf.

When people grow up in atmospheres of violence or atmospheres of poverty, they don't normally use hi-falutin' language to describe those things. They would describe some brutal event the same way we would describe getting a taxi or missing the bus.

I wanted to think about our creation myth; you know, what is the fundamental story that defines America. And it certainly is the West.

When you take the fact that you're loved for granted, it frees your mind to go after every other thing there is.

My parents have always been incredibly supportive. Even when I dropped out of high school, they said, 'We trust you, we believe in you.'

When we think of the myth of the settling of the West, this is our creation myth. But because we think of it as mythology, not as real people interacting with other real people, we ignore the cost of human lives and blood.

I'm interested in getting deep into a person's consciousness and doing so in ways in which the narrator is secondary to the character's own thoughts.

Give a small number of people the power to enrich themselves beyond everyone's wildest dreams, a philosophical rationale to explain all the damage they're causing, and they will not stop until they've run the world economy off a cliff.

Life throws up enough road blocks to keep you from writing; you can't be adding to them yourself by saying you can only write in one specific place. I'm in New York half the time and Texas half the time, and I work wherever - in my computer bag I have some foam ear plugs that I can put in.

Since I quit banking, all my major life decisions, when they could, have revolved around writing.

I just assume that I'll fail at something for several years - that I'll try my hardest and still fail for several years. With writing, that turned out to be wrong. I tried my hardest and failed for about fifteen years.

Your job as a writer is to find storylines, narrative structures, and characters to show the things that you believe rather than saying them or telling them.

I don't think you can be taught how to make art. You can be coached, but on a fundamental level you have to figure it out for yourself. You have to learn how your own mind works, figure out your own relationship to the art; you essentially have to invent it completely for yourself.

Follow your footprints long enough and they will turn into those of a beast."

When novels deal in abstractions, they generally go off the rails.

I like mechanical things; my first book was a mechanics guide - that was what my parents couldn't pry away from me; that was the blanket.

My first published novel, 'American Rust,' took three and a half years of full-time work to write. But I wrote two apprentice novels before that.

When I finish a book, I get extremely restless; I have to aggressively find ways to occupy myself; going off into the woods alone, doing things that are physically or mentally demanding to keep myself busy until the next big idea comes.

Fundamentally, all art is about human beings. You're always showing larger moral questions through the smaller moral, philosophical, or political choices through one character in the book.

When you start to look at Native American history, you realize that, very far from being a peaceful, morally superior people, Native Americans were not that different from Europeans.

I should say that generally I'm a pretty happy person, but as soon as I'm done with a project, I'm usually not happy at all. I feel a little empty and strange. I begin to think about how I can get better, stretch more artistically and intellectually. My biggest worry is getting complacent.

Cornell changed my life; getting in there was one of my pinnacle moments.

Each time a high-wage job is lost, a family is turned upside down. And that affects the communities where they live.

If no one heard your sounds then you did not really make them.

My first published novel, American Rust, took three and a half years of full-time work to write. But I wrote two apprentice novels before that.

No land was ever acquired honestly in the history of the earth.

She wondered how people would remember her. She had not made enough to spread her wealth around like Carnegie, to erase any sins that had attached to her name, she had failed, she had not reached the golden bough. The liberals would cheer her death. They would light marijuana cigarettes and drive to their sushi restaurants and eat fresh food that had traveled eight thousand miles. They would spend all of supper complaining about people like her, and when they got home their houses would be cold and they'd press a button on a wall to get warm. The whole time complaining about big oil.

The entire history of humanity is marked by a single inexorable movement - from animal instinct toward rational thought, from inborn behavior toward acquired knowledge. A half-grown panther abandoned in the wilderness will grow up to be a perfectly normal panther. But a half-grown child similarly abandoned will grow up into an unrecognizable savage, unfit for normal society. Yet there are those who insist the opposite: that we are creatures of instinct, like wolves.

You have to believe in yourself and only trust your own vision and instincts. If Id listened to what other people thought about my work in the first 10 years that I was a writer, I never would have made it to begin with.

You ought to be able to grow up in a place and not have to get the hell out of it when you turn eighteen.