Best English Novel Quotes & Sayings

-I think you are inhuman. If I leave you, who will you go to? Would you find another lover?
I said nothing.
-Deny it,damn you! — Michael Ondaatje

45,000 sections of reinforced concrete - three tons each.
Nearly 300 watchtowers.
Over 250 dog runs.
Twenty bunkers.
Sixty five miles of anti-vehicle trenches - signal wire, barbed wire, beds of nails.
Over 11,000 armed guards.
A death strip of sand, well-raked to reveal footprints.
200 ordinary people shot dead following attempts to escape the communist regime.
96 miles of concrete wall.

Not your typical holiday destination.

JF Kennedy said the Berlin Wall was a better option than a war. In TDTL, the Anglo-German Bishop family from the pebbledashed English suburb of Oaking argue about this - among other - notions while driving to Cold War Berlin, through all the border checks, with a plan to visit both sides of it. — Joanna Campbell

I've come across a novel called The Palm-Wine Drinkard, by the Nigerian writer Amos Tutuola, that is really remarkable because it is a kind of fantasy of West African mythology all told in West African English which, of course, is not the same as standard English. — William Golding

People didn't know certain things about me, which ... I was out of creative writing class in school, Syracuse University; had a B.A. in English and wanted to write the great American novel but I also loved rock and roll. I was in bar bands all through college, playing fraternities and have to know all the songs in the top 10. That kind of thing. — Lou Reed

One often hears of writers that rise and swell with their subject, though it may seem but an ordinary one. How, then, with me, writing of this Leviathan? Unconsciously my chirography expands into placard capitals. Give me a condor's quill! Give me Vesuvius' crater for an inkstand! Friends, hold my arms! For in the mere act of penning my thoughts of this Leviathan, they weary me, and make me faint with their out-reaching comprehensiveness of sweep, as if to include the whole circle of the sciences, and all the generations of whales, and men, and mastodons, past, present, and to come, with all the revolving panoramas of empire on earth, and throughout the whole universe, not excluding its suburbs. Such, and so magnifying, is the virtue of a large and liberal theme! We expand to its bulk. To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it. — Herman Melville

I'll tell you a thing that will shock you. It will certainly shock the readers of Writer's Digest. What I often do nowadays when I have to, say, describe a room, is to take a page of a dictionary, any page at all, and see if with the words suggested by that one page in the dictionary I can build up a room, build up a scene. ... I even did it in a novel I wrote called MF. There's a description of a hotel vestibule whose properties are derived from Page 167 in R.J. Wilkinson's Malay-English Dictionary. Nobody has noticed. ... As most things in life are arbitrary anyway, you're not doing anything naughty, you're really normally doing what nature does, you're just making an entity out of the elements. I do recommend it to young writers. — Anthony Burgess

My first novel was turned down by about twenty publishers over a period of two and a half years. Because my name is Irish and would not be familiar to English editors, one of them said: 'If she writes anything else, do let us know.' Slowly, very slowly, the books began to sell and be noticed. — Colm Toibin

I could get a better education interviewing John Steinbeck than talking to an English professor about novels. — William Safire

Cooper wrote a novel which is absolutely indistinguishable from Austen, completely from a female point of view, completely English, no sense that he was an American. — Leslie Fiedler

Rebecca Mead's My Life in Middlemarch is a wise, humane, and delightful study of what some regard as the best novel in English. Mead has discovered an original and highly personal way to make herself an inhabitant both of the book and of George Eliot's imaginary city. Though I have read and taught the book these many years I find myself desiring to go back to it after reading Rebecca Mead's work. — Harold Bloom

I'd morphed, altered, nipped and tucked away bits of my personality for so long, I no longer recognized myself. I feared that one day, even if I wanted to, I wouldn't be able to identify myself. I'd be forever trapped in an image of another's making, and there would be no escape because I would have forgotten to want to escape.
Nida — Faiqa Mansab

English Passengers, a first novel by Matthew Kneale, relates what follows when a group of Englishmen arrive in mid-nineteenth-century Tasmania with different purposes: to find the Garden of Eden, to prove the natives are less intelligent than the British, and to escape from British law. Kneale also describes the tragic life of a young Aboriginal whose experiences are shaped by the arrival of the British. — Nancy Pearl

Setting sail from Tidore, his next port of call was the island of Celebes, where he found himself royally entertained by the King of Butung.... This island unknown to the English but Middleton (Captain David Middleton) enjoyed his stay here and found the King a curious fellow who was only to keen to entertain his guests with banquets and sweetmeats. Some meals were novel affairs; the ship's purser found himself eating in a room whose interior decor consisted entirely of rotting human heads, dangling from the ceiling. — Giles Milton

It is as difficult to suppose a person intending to write a modern English, as to suppose him writing an ancient English, novel; that is a label which begs the question. One writes the novel, one paints the picture, of one's language and of one's time, and calling it modern English will not, alas! make the difficult task any easier. — Henry James

Had I not gone to Japan in 1986, had I stayed home and majored in English literature as I'd intended to do, I might indeed have become an investment banker, an outcome that perhaps would have proved a more severe blow to the health of the U.S. economy than to the history of the novel. — John Burnham Schwartz

I love the novel of 'The English Patient'; I think it's a profoundly beautiful novel. I love the movie of 'The English Patient'; I think it's a profoundly beautiful movie. And they're totally different. You accept each on its own terms, and that's kind of the ideal. — Ayelet Waldman

Henry James said there isn't any difference between "the English novel" and "the American novel" since there are only two kinds of novels at all, the good and the bad. — Eudora Welty

we would stride over Hinksey and Cumnor - we walked almost as fast as we talked - disputing and quoting, as we looked for the dark dingles and tree-topped hills of Matthew Arnold. This kind of walk must be among the commonest, perhaps among the best, of undergraduate experiences. Lewis, with the gusto of a Chesterton or a Belloc, would suddenly roar out a passage of poetry that he had newly discovered and memorized, particularly if it were in Old English, a language novel and enchanting to us both for its heroic attitudes and crashing rhythms — Jocelyn Gibb

When English author Anna Sewell wrote Black Beauty, in the late nineteenth century, she said that her aim was to "induce kindness, sympathy, and an understanding treatment of horses." Though now considered a children's classic, the book was originally intended for an adult audience. Narrated from the horse's point of view, the novel describes Black Beauty's life, from his earliest memory, of "a large pleasant meadow with a pond of clear water in it" to his wretched existence pulling a heavy load for a cruel peddler. The sentimental and emotionally wrenching book was wildly popular, quickly becoming a bestseller first in England and then in the United States, where it became a favorite of the progressive movement. Sewell's book was the first to popularize interest in the plight of the horse and to generate widespread concern about the beast of burden's treatment. — Elizabeth Letts

Without a doubt the two best words in the English language are The End — Ken Scott

It was possible to explore the 'great tradition' of the English novel and believe that in doing so you were addressing questions of fundamental value
questions which were of vital relevance to the lives of men and women wasted in fruitless labour in the factories of industrial capitalism. But it was also conceivable that you were destructively cutting yourself off from such men and women, who might be a little slow to recognize how a poetic enjambement enacted a movement of physical balancing. — Terry Eagleton

Isaac Deutscher was best known - like his compatriot Joseph Conrad - for learning English at a late age and becoming a prose master in it. But, when he writes above, about the 'fact' that millions of people 'may' conclude something, he commits a solecism in any language. Like many other critics, he judges Orwell's Nineteen Eighty-Four not as a novel or even as a polemic, but by the possibility that it may depress people. This has been the standard by which priests and censors have adjudged books to be lacking in that essential 'uplift' which makes them wholesome enough for mass consumption. The pretentious title of Deutscher's essay only helps to reinforce the impression of something surreptitious being attempted. — Christopher Hitchens

In a lending library you see people's real tastes, not their pretended ones, and one thing that strikes you is how completely the 'classical' English novelists have dropped out of favour. It is simply useless to put Dickens, Thackeray, Jane Austen, Trollope, etc. into the ordinary lending library; nobody takes them out. At the mere sight of a nineteenth-century novel people say, 'Oh, but that's OLD!' and shy away immediately. Yet it is always fairly easy to SELL Dickens, just as it is always easy to sell Shakespeare. Dickens is one of those authors whom people are 'always meaning to' read, — George Orwell

The end of secrecy would be the end of the novel - especially the English novel. The English novel requires social secrecy, personal secrecy. — Ian McEwan

Beauvoir lent Maheu a recent English novel she had enjoyed, The Green Hat, by Michael Arlen. She admired its independent heroine, Iris Storm. Maheu did not. 'I have no liking for women of easy virtue,' he told her. 'Much as I like a woman to please me, I find it impossible to respect any woman I've had.' Beauvoir was indignant. 'One does not HAVE an Iris Storm! — Hazel Rowley

I had thought for years, probably 30 or 40 years, that it would be a lot of fun to try my hand at a classic English mystery novel ... I love that form very much because the reader is so familiar with all of the types of characters that are in there that they already identify with the book. — Alan Bradley

English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control. — Zadie Smith

Memories help make us who we are.(Taken from novel...A Very English Affair) — Faith Mortimer

Who would ever think of learning to live out of an English novel? — Anthony Trollope

In the city, human beings celebrated and enjoyed material conditions and comforts, but were caught in the labyrinths and knots of spiritual shallowness and psychological confusion. In the city human beings wrestled with the demands of survival and profit but fled from life's imperatives of honesty and moderation. In the city man was afraid to confront his own face. — Isa Kamari

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. — Philipp Meyer

I have read all my novels that were translated into English. Reading my novels is enjoyable because I forget almost all the content in them. — Haruki Murakami

In 1927 she became, and would forevermore remain, the "It Girl." "It" was first a two-part article and then a novel by a flame-haired English novelist named Elinor Glyn, who was known for writing juicy romances in which the main characters did a lot of undulating ("she undulated round and all over him, twined about him like a serpent") and for being the mistress for some years of Lord Curzon, former viceroy of India. "It," as Glyn explained, "is that quality possessed by some few persons which draws all others with its magnetic life force. With it you win all men if you are a woman - and all women if you are a man. — Bill Bryson

Time will solve all the problems Chinese school graduates face. In our bilingual society, there are no more Chinese school graduates, only English school graduates who can speak Mandarin. These English school graduates probably can also read and write Chinese, but they did not go to a Chinese school, and they act and think differently from us. Drawing a line between us, they would never say they graduated from a Chinese school, because former Chinese school graduates, that is, the vanishing group of people that includes us, are second-class citizens. They, on the other hand, belong to the first class, the Chinese elite, English school graduates who are fluent in Chinese. — Yeng Pway Ngon

The English social anthropologist Geoffrey Gorer, in his 1965 Death, Grief, and Mourning, had described this rejection of public mourning as a result of the increasing pressure of a new "ethical duty to enjoy oneself," a novel "imperative to do nothing which might diminish the enjoyment of others. — Joan Didion

Most English writers are not interested in change but in the social novel. That demands a static backdrop. I'm intensely interested in change - probably as a matter of self-preservation. What the hell is going to happen next? — J.G. Ballard

Oh! And they read English novels! David! Did you ever look into an English novel? Well, do not trouble yourself. It is nothing but a lot of nonsense about girls with fanciful names getting married. — Susanna Clarke

'Out' was my real breakthrough, the novel that became a hit in Japan and sold a lot of books, so it was sort of an obvious choice for being the first book to be translated into English. — Natsuo Kirino

Ford Maddox Ford's 'The Good Soldier' is my favourite novel. I first read it in the 1950s and have read it about 20 times since. It's possibly the best-constructed book in the English language. — Ruth Rendell

English. That was where I met him. — Andrew Koh