Garth Greenwell Quotes

Even though I don't sing any more, singing was my first education in the arts, and it's clear to me that my training as a musician also shaped me as a writer.

Writing the novel felt so private to me! I think publishing a novel is quite public and exposing, and what's a little frightening to me right now is the fact that it feels so entirely opposed to the privacy that is writing.

I do think that calling a book nonfiction affirms a kind of responsibility to an attempt at truth.

Whenever I go to New York I try to soak up as much live music as I can, including as many nights at the opera as I can manage.

I don't think I'm qualified to answer questions about happiness. But I guess I'd say that I don't think you ever get to put to bed something like a search for order, or any other element of your sensibility, however much you'd like to.

There are lots of big books that have gay characters - or, more commonly, a gay character - in secondary roles, but seldom are their lives, and especially their sexual lives, on center stage.

I'm drawn to fiction that hints at nonfiction, that blurs or seems to blur the boundaries between invention and autobiography.

I think one reason I'm drawn to expansive syntax is that arias are so often exercises in extending language as a means of intensifying feeling.

It does seem like between the groundbreaking writing of Edmund White's generation and the work of younger gay writers in their twenties and thirties there is a kind of gap.

I realized, that the life of a musician, even of a very lucky, very successful musician, wasn't really the life I wanted: I hate travel, I hate living out of suitcases, I hate the constant anxiety of being on stage.

I guess I've done a lot of different kinds of performing at various times - opera singing, poetry reading, not least high school teaching - and I do enjoy it, at least sometimes. But I find it incredibly anxiety-producing and exhausting. Privacy is more congenial, and I go a little crazy if I can't spend a big chunk of every day, or almost every day, alone. Certainly I have to be alone to write.

Where the novel makes use of material from my life it does so because it's aesthetically convenient, not because of any allegiance it has to any verifiable facts.

For me, music was always a second language. I didn't have a musical background, and I started studying very late, at fourteen.

Bulgaria is a fascinating, beautiful, difficult country, and I fell in love with it.

The fact remains that books that really put gay people in the center, and especially books that do so in a way that is sexually explicit, tend not to get a great deal of mainstream attention: they don't tend to sell well, and they don't tend to win major awards. This makes the occasional exception, like Alan Hollinghurst, all the more remarkable.

I take pleasure as a reader in books that tease with a kind of urgency of the real, even if it's only a manufactured effect.

I'm not sure I can articulate any principles behind the decisions about what to cut and what to keep.

I'm not sure any narrative model has been more important for me than Benjamin Britten's chamber operas.

The academy is an incredibly sheltered world, and I do think it's important for writers to get out from under that shelter, at least for a while, to see what the world looks like from outside it.

History is never invisible, finally, though some people seem to work very hard to be willfully blind.

I studied opera, and when I left conservatory I told myself I would never sing in public again.

I think it's harder to avoid reflection on those larger patterns of history or society when they so insistently call into question your right to exist.

Being a high school teacher was wonderful, but unsustainable: I needed a way out.

When I took my first poetry class, I felt that I could understand the relationships between words and the formal qualities of language in a way I would never understand music.

I think history is only ever invisible when it abets your sense of self, your desires, your ambitions, when it carries your life along in a kind of frictionless way. History is never invisible, finally, though some people seem to work very hard to be willfully blind. That's too harsh, or too self-righteous: none of us sees history fully; none of us is adequately aware of how the arrangements of the present moment foreclose the possibilities of others to fully live their only lives.

A Heart So White is simply one of the best novels I know. I'm also thrilled by Javier Marías sentences, by how elegant they are while also being so permissive in relation to the niceties of grammar and so open to the prospect of surprise. He's a genius.

My first MFA was in poetry, and it was very much part of a professional trajectory leading to life as a professor. But in my second and third years at Harvard, I realized I didn't want an academic life.

None of us sees history fully; none of us is adequately aware of how the arrangements of the present moment foreclose the possibilities of others to fully live their only lives.

My life has had a lot of fits and starts: before I studied literature at all I was a musician, and began undergrad as a conservatory student. I started studying literature in my third year of college, when I took a poetry course with James Longenbach that was pretty extraordinary. It changed my life.

My first months in Sofia were a time of intense disorientation: I had never been to that part of the world before; I could barely speak the language; everything seemed strange to me.

Woolf is an important writer for me, someone I read often and who forms part of my ideal of what literature can do.

I think history is only ever invisible when it abets your sense of self, your desires, your ambitions, when it carries your life along in a kind of frictionless way.

I often say that Bernhard, W.G. Sebald, and Javier Marías are my stylistic holy trinity, prose writers who amaze me with their notation of consciousness and voice.

If my novel gets any attention in Bulgaria, it will be as a scandal: a book about a teacher at a famous school and his relationship with a prostitute. I doubt very much it will be evaluated on its merits as literature. If Bulgarian were the book's only language, that would be painful and limiting to me as a writer. Since my book also exists in English - where it isn't scandalous at all - I feel comfortable with the possibility of scandal.

I'm still primarily interested in observing as closely as possible the shifting weather between people. I think the master of this sort of thing, and a writer who has meant a great deal to me, is Henry James: there's a magical way that he has of turning the slightest gesture into a whole world of drama and feeling.

I am a gay writer, absolutely. And in no way does that fact limit the reach or importance of what I write.

I do think that the sense of being opposed to the present moment, that sense of the rub of history, invigorates the writing I find most exciting, and maybe precisely in being equally allegiant to an inward fineness of sensibility and an outward-facing rigor of protest or critique.

I realized that there was an intellectual content in music, a kind of thinking, that I would never be able to hear.

I guess I think that sex and desire and humiliation are central to my experience of consciousness - to my experience of humanness - and I wanted to explore the ways that they circle around and approach and fail to add up to love, or the ways that those three terms - sex, desire, love - can in some lights seem synonymous and in others like elements entirely alien to one another.

I went back to graduate school because I wanted to avoid being a professional, to try to piece together a life that would let me avoid the tenure race and full-time teaching.

I felt a lot of ambivalence about going back to graduate school for a second MFA. The impulse was really the opposite from what it had been more than a decade before: I wanted to interrupt a career.

I hope that the relationship of the title to the novel [ What Belongs To You] gets more complex with each section of the book: that maybe it begins by resonating with the question of prostitution - to what extent can a body be commodified, what exactly are you renting or purchasing when you pay for sex - and deepens over the course of the book to address larger questions of ownership and belonging.

Teaching high school was my real training as a novelist: it got me out of my head, and (at least a little) out of books, and invested me in the lives of others and the world around me.