Eleanor Catton Quotes Quotes

'The Luminaries' is such a different book to 'The Rehearsal.' There are only a couple of things that link the two books: there's a certain preoccupation with looking at relationships from the outside, being shut out of human intimacy; and then there's patterning.
A trip to the picture framer's, with a selection of prints, is the most joyous outing I can imagine. I've spent more money on framing than on anything else I own.
An interesting thing about New Zealand, you know, literature is that it really didn't begin in any real sense until the 20th century.
Any description of a person that comes from the outside is very hard to deal with. People don't like being summarised. It's nice to receive a compliment, but it makes me feel a bit uncomfortable.
As an artist, you need to be not at all entitled in your relation with the work. So money is kind of worrying. You can start to expect things if you're used to a certain level of comfort.
Astrology's a moving system that depends on where you're looking at it from on Earth. My horoscope here in London would be completely different to down in New Zealand.
Fiction is supposed to be immersive and supposed to be entertaining and narrative, so structures have to be buried a little bit. If they come foregrounded too much, it stops being fiction and starts being poetry - something more concrete and out of time.
From the very beginning, I had an ambition for 'The Luminaries': a direction - but not a real idea.
I am a New Zealander, but I don't want to swallow New Zealand identity in one gulp.
I believe really strongly in imitation, actually: I think it's the first place you need to go to if you're going to be able to understand how something works. True mimicry is actually quite difficult.
I can feel the public side of my life and the private side of my life sort of drifting away from one another.
I don't feel like literature has the power to alienate. I think that's something people feel if they don't connect with a work of art. But I don't think a work of art can actively reject the person who's looking at it or reading it.
I don't see that my age has anything to do with what is between the covers of my book, any more than the fact that I am right-handed. It's a fact of my biography, but it's uninteresting.
I feel very strongly influenced by long-form box-set TV drama... I feel really excited that, at last, the novel has found its on-screen equivalent, because the emotional arcs and changes that you can follow are just so much more like a novel, and so many amazing shows recently have done as much as film can do to show the interior world.
I grew up on the South Island of New Zealand, in a city chosen and beloved by my parents for its proximity to the mountains - Christchurch is two hours distant from the worn saddle of Arthur's Pass, the mountain village that was and is my father's spiritual touchstone, his chapel and cathedral in the wild.
I had never read Victorian novels before going overseas. I read a handful of authors, but I had not immersed myself in the literature of the 19th century.
I have always loved reading books for children and young adults, particularly when those books are mysteries.
I have written ever since I knew mechanically how to do it.
I highlight everything I find interesting, and then type out everything I've highlighted, and then print out everything I've typed, and reread these printed notes as often as possible.
I loved 'Middlemarch,' I think that's one of my favourite books of all time, actually.
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Eleanor Catton
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BirthDate
24 September, 1985
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New Zealand
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