Quotes from Jim Crace


Sorted by Popularity


For 'The Gift of Stones,' I spent an afternoon chasing a flock of Canadian geese.


Writing careers are short. For every 100 writers, 99 never get published. Of those who do, only one in every hundred gets a career out of it, so I count myself as immensely privileged.


I know the money is important, but, actually, the validation of your career that prizes give is what you really want. But the money is fabulous, too.


I know my 17-year-old self would read my bourgeois fiction, full of metaphors and rhythmic prose, with a sinking heart.


I invent words you think you've heard - spray hopper or swag beetle.


I have, I must admit, despised the English countryside for much of my life - despised it and avoided it for its want of danger and adventure.


I have in the past acquired a reputation for concocting non-existent writers and unwritten volumes.


I feel the political failings of the U.S.A. are presidential in length, but the aspirant narrative of the States is millennial in length.


I don't have any sense of an audience when I'm writing. I don't consider the audience. Because all I'm interested in is the problem on the page.


I didn't go to university straight after school. I went at night.


I adore falseness. I don't want you to tell me accurately what happened yesterday. I want you to lie about it, to exaggerate, to entertain me.


There is no reason why the Louvre should be your favourite gallery just because it has the grandest collections in France, any more than Kew should necessarily be a favourite garden because it has the largest assemblage of plants, or Tesco your chosen shop because it has the widest variety of canned beans.


Everyone says I should write a natural history or landscape book because if I have an area of amateur expertise, it is in those things.


English politics is so much more concerned with the proprieties than with defending dogmas.


Because I'm a walker, natural history is my subject; I've always been obsessed with landscape, and I have an elegiac tone in most of my books.


As a natural historian, I don't believe in the consciousness of rocks or the opinions of rainbows or the convictions of slugs.


Almost everyone who's been to primary school in Britain has had towels put on their heads to play the shepherds in the nativity play.


I was sick and tired of reading other people's epigraphs. They all seemed to be in ancient Greek, middle French or, when they were translated, they never seemed to relate to the book at hand. Basically, they seemed to be there just to baffle you and to impress you with how smart the writer is.


The problems of the world are not going to be engaged with and solved in Faversham, they're going to be sorted out in cities like Birmingham.


When you start a novel, it is always like pushing a boulder uphill. Then, after a while, to mangle the metaphor, the boulder fills with helium and becomes a balloon that carries you the rest of the way to the top. You just have to hold your nerve and trust to narrative.