quote by Ron Rash

Intensely moving but never sentimental, Academy Street is a profound meditation on what Faulkner called 'the human heart in conflict with itself'. In Tess Lohan, Mary Costello has created one of the most fully realized characters in contemporary fiction. What a marvel of a book.

— Ron Rash

Delicious Contemporary Fiction quotations

Even though what I enjoy most is literature, I would not want to live only in a world of fiction, cut off from the rest of life. No - I want to always have a foot in the street, to be inmersed in the activities of my contemporaries, in the times, in the place where I live.

Contemporary fiction quote Fiction is the truth inside the lie.
Fiction is the truth inside the lie.

Going back to the noir fiction of the 30s, 40s and 50s. It's very contemporary.

Contemporary fiction quote A woman must have money and a room of her own if she is to write fiction.
A woman must have money and a room of her own if she is to write fiction.

A political philosophy (often called "political science" by practitioners who are not averse from verbal trickery) must deal with contemporary realities. If it does not, if it is charged with "ideals," it is merely a variety of romantic fiction, although it may not be recognized as such.

I've Read 20,000 Quotes and Picked The Top 200 Of Them

Arnošt Lustig is one of the leading contemporary Czech fiction writers, and certainly the most important Jewish writer of Bohemia to have survived the Holocaust.

I don't know what issues concerning identity have helped contemporary fiction evolve to what it is now. All I know is that the range of voices that are being heard and published is a lot more diverse than when I was coming up.

Contemporary fiction quote The universe wrote fiction is us. Its called Fear.
The universe wrote fiction is us. Its called Fear.

The main advantage of being a reviewer is that you read a lot.

A lot of books get sent to you, and you have an amazing vantage point from which to observe what's going on in contemporary fiction - not only genre stuff, the whole spectrum.

Gaston Milhaud, like many of his contemporaries, sought to overthrow empirical positivism by insisting on the fundamental reality of the mind, but mind conceived in the Kantian sense. The knowledge of nature is symbolic, and there is no necessary connection between the phenomena and our fictions.

Novels, except as aids to masturbation, play no part in contemporary life.

I'm always interested in contemporary fiction.

I can be very snobby about fiction, especially contemporary fiction.

I can be kind of overly demanding, I think. But this is, I think, a good time. A lot of fiction comes out right now. So, I like reading the memoir. I love memoir, the biography, auto bio.

Ultimately, I want a peak experience in reading, and that is sometimes difficult to find in contemporary fiction. I'm not interested in books that are just clever and well executed; polish doesn't impress me, and I don't care about a merely capable sentence. Life is short; I want a confrontation with high art. I want soul.

I read a ton of fiction - historical, contemporary, literary, commercial, I love it all.

As for whether genre considerations influence what I write, they don't at all, but I might sell more books if they did. The Night Journal is a hodge-podge of historical fiction, western, mystery, and contemporary domestic drama. It doesn't settle into a specific market, reviewers have a hard time describing it, and sometimes it gets classified weirdly in bookstores. But from a writer's standpoint, I like that it's hard to categorize.

One of my favourite contemporary fiction writers is a Texan, Ben Fountain.

His extraordinary novel, Billy Lynn's Long Half-Time Walk, all takes place within the half-time show at a Dallas Cowboys football game. No one has better summed up the American appetite for spectacle, the link between sports and politics, and the absolute madness of George W. Bush's Iraq War.

Journeys become very good metaphors. They always have the character put into circumstances that reveal him. If I had based my characters in New York and had them just sitting and thinking about life, it would be like what contemporary U.S. fiction is about. That is very heavy, literally, for me. It doesn't become mainstream enough because the pages don't turn themselves.

Not a lot of contemporary fiction is written about brothers and sisters.

Salinger's Franny and Zooey was an inspiration for me. In Franny and Zooey, the sister gets in trouble and the brother comes to help her out. But I wanted to make sure that in my novel the sister had more to do than lie around on a sofa muttering, which is what Franny does for two-thirds of Salinger's novel.

I started reading contemporary fiction in college or right after college.

It wasn't as if I was steeped in experimental minimalism when I was twelve or something. I was reading The Witch of Blackbird Pond.

I don't know if it's something that we as a species are hardwired for or if it's more of a contemporary phenomenon related to technology and rapid dissemination of data. I did know that whatever its cause or nature, I wanted to interrogate this phenomenon. But the only way for me to do that, the only tool I have to dissect it with, is a fictional narrative.

It's the fantasy of first love. If you've been married for 400 years, as I have, it's nice to experience first love again and you can vicariously through a book. And it is such a fantasy. It takes you away from doing the dishes and the laundry. I think of this as a contemporary romance rather than erotic fiction.

Most of my writer friends are women, and they're all extremely talented, so of course I think the state of contemporary fiction for women is pretty great. Which is to say there is a ton of amazing work out there. These women are writing hard. There's much to be said. We're on it, chief.

Most contemporary fiction sucks. It's intellectually dishonest, often morally dishonest. It's cheap and easy. It pretends to be deep but is really quite shallow.

The problem with kitsch is that it is all too profound, manipulating deep libidinal and ideological forces, while true art knows how to remain at the surface, how to subtract it's subject from it's deepest context of historical reality. The same goes for contemporary art, where we often encounter brutal attempts to return to the Real, to remind the spectator or reader that he is perceiving a fiction, to awaken him from a sweet dream.

Anyway I read more contemporary poetry than contemporary fiction so my mind goes first to a kind of crass "conceptualism" that repeats vanguard gestures of the past minus the politics and historical context.

I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.

Southern writing is regional: it includes dialect, settings, and cultural traditions from that region. However the themes and story conflicts are universal. My challenge is to write regional fiction without falling into the trap of nostalgia. There are important issues facing the south that I believe should be raised in the stories to make them contemporary, believable, and relevant to today's readers.

Aurelie Sheehan's absorbing stories have depth miles beneath their compelling surface. They radiate a wisdom, beauty and originality rare in contemporary fiction.

It's not just what Christian fiction lacks I appreciate - it's what it offers.

The variety is vast: contemporary, historical, suspense, mysteries, adventure, young adult, romance, fantasy, science fiction.

Richard Gavin is one of the bright new stars in contemporary weird fiction.

His richly textured style, deft character portrayal, and powerful horrific conceptions make every one of his tales a pleasure to read.

Jax Cassidy is a brilliant new voice in contemporary fiction.

Full of heat, seduction, and romance, her winning characters are sure to capture your heart and find a place on your keeper shelf.

The most underrated of all contemporary American writers of fiction.

All ideas about identity, of course, fit perfectly into the social media wonderland we live in. They seem to really connect. There's a science-fiction aspect to our contemporary life. What's virtual, what's real.

The writing you allude to is a form of dissent, but it's also expressive of the need to evolve beyond what is turgid and stale in contemporary fiction.

In high school I was drawn to the study of literature, poetry Shakespeare, contemporary fiction, drama, you name it - I read it.

When I was a teenager, I was a voracious reader of crime fiction, but only contemporary books.