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" I wanted each of my books to be very different from the others, each to be special and uncategorizable, and I knew I could only do that a few times before I was in danger of repeating myself. "
Michel Faber
Danger
Books
Special
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" I'm constantly listening to music and thinking about it and compiling my own cassettes and CDs in obsessively specific order. I have quite lunatic agendas for what I want to achieve. They won't make sense to anyone other than me, but it is what I've spent most of my life doing. "
Michel Faber
Life
Listening
Me
" Art is head space that is very exclusive: it shuts people out; other people cease to exist. "
Michel Faber
Head
Exist
Art
" When I was a kid, it was thought I would do something in the visual arts because I was always drawing, but when we emigrated to Australia from Holland when I was seven, I learnt the English language, and I fell in love with it. "
Michel Faber
Love
Always
Drawing
" I am open-eyed about what poverty does to people. "
Michel Faber
People
I Am
Does
" When answering questions over the years about film and TV adaptations of my books, I have always maintained that no movie or TV series could ever change or damage my work. "
Michel Faber
Work
Questions
Film
" I get increasingly respectful of people who have faith and increasingly creeped out by them. "
Michel Faber
Who
Respectful
Out
" Very few stories embody a human truth so definitively that we cannot think of the truth without remembering the story and cannot imagine how people ever got by without it. "
Michel Faber
Remembering
Story
Think
" I got fed up with the human race, really. I got a very negative feeling about human potentials. And for a while, I thought I might write a book without any human beings in it whatsoever. "
Michel Faber
Book
Feeling
Race
" By recycling pre-existing material, Shakespeare seemed to endorse a view common in his time, which has become even more entrenched in the 400 years since: that all the truly essential stories are already in the bag. "
Michel Faber
Time
Recycling
More
" My energies get used up quite quickly, and the psychic space I'm in when I write is a very lonely one, so I found that harder and harder to get back to. "
Michel Faber
Lonely
Back
Used
" I tend to process emotional stuff very, very slowly. "
Michel Faber
Emotional
Very
Slowly
" One of the things my success as an author has forced me to face is how dysfunctional... Maybe that's a strong word, but how obsessive I am. "
Michel Faber
I Am
Things
Success
" I'm a loner and always have been. "
Michel Faber
Always
Been
Loner
" I strive to use references that may still make some kind of sense once our age has passed into history. That robs my writing of a certain connectedness to my time, but potentially might allow it to make sense to people who are not in this time. "
Michel Faber
History
May
People
" The mere fact of my novel being filmed means very little to me. For a long while after 'The Crimson Petal's publication in 2002, it looked as though Hollywood was going to adapt it. "
Michel Faber
Long
Adapt
Fact
" Really good books need a chaos element: something weird or inexplicable. "
Michel Faber
Good
Weird
Need
" I think throughout the 20th century, for some reason, serious writers increasingly had contempt for the average reader. You can really see this in the letters of such people as Joyce and Virginia Woolf. "
Michel Faber
See
You
Think
" I had been attempting novels since I was 14 but always ran out of steam. High hopes, poor craftsmanship. "
Michel Faber
Craftsmanship
High
Poor
" I'm still tremendously proud of 'Crimson Petal.' I'm still very emotionally involved with these characters. I still care about them. "
Michel Faber
Involved
Proud
Still
" When we ask bureaucrats to identify who is responsible for fixing anything, they reassure us that there are 'procedures in place.' "
Michel Faber
Anything
Ask
Place
" In all of my work, I think I'm exploring the idea that we are aliens to each other, how there is a huge distance that separates us all. "
Michel Faber
Exploring
Think
Us
" Most books are surplus to the world's requirements, and I am going to sound very conceited here, but I am trying to write books that aren't just using up trees. "
Michel Faber
Trees
Sound
World
" Pathos and poignancy are, to me, tactics and techniques; in my work as a writer, I fetch them from my toolbox and use them as required. "
Michel Faber
Pathos
Writer
Work
" I don't remember my childhood very well for one reason or another, possibly childhood trauma or possibly just a very bad memory. My early life has sort of been erased from my memory banks. "
Michel Faber
Memory
Remember
Life
" I think that if you are a serious writer, you are almost obligated to provide the intelligent average reader with something that they can relate to and care about. If you are writing only for a tiny elite, then that surely should sound alarm bells. "
Michel Faber
Writing
Think
Care
" If someone's a cartoon villain, you can dismiss them, but if they behave despicably but you kind of like them, they really get under your skin. "
Michel Faber
Like
Kind
You
" Total oblivion is the fate of almost everything in this world. I'm very likely to suffer that same fate; my work will probably not be remembered, and if any of it is, if any of those novels is fated to be one of those novels that is still being read 50 or 100 years after it was written, I've probably already written it. "
Michel Faber
Will
World
Fate
" When the person you love has cancer, they are, in a sense, living on Planet Cancer. They are in a place where you are not. And you can't follow them. "
Michel Faber
You
Place
Person
" A text may be superbly written, exquisitely subtle, deeply meaningful, but still seem like a luxury extra, something we add to the already well-stocked store of our reading experience. "
Michel Faber
Reading
Experience
Luxury
" 'The Crimson Petal and the White' is a book, and it will win or lose the trust of each reader when they begin reading its pages. That relationship will go on. "
Michel Faber
Trust
Reading
Relationship