Lily King Quotations

I've always thought of writing as sort of active communication.

I'm very interested in the way people interact emotionally.

I have three stepfamilies as well as my family of origin. I've had to adjust to them and also go back and forth among them. I became an observer of human nature because when you are in those situations you have to be.

It also signals to me, when I pick up a pencil, that this is a rough draft. This is not going anywhere, and no one's going to see it. You have permission to make all the mistakes you want. It signals freedom to me, and it signals mistakes.

When I finished graduate school, the first George Bush was president, and I really wanted to get out of the country. We'd just gone through the first Gulf War.

I've also done things that put me in odd situations.

I always had this put-together family, and I always identified as the outsider. And that's a position where I feel most comfortable, and yet I feel an incredible longing to belong. That is really a strong feeling from my childhood - a desire to be part of a group.

To go back to my childhood, I experienced lots of different family cultures, all the while feeling like none of them were mine.

Every fictional thing I wrote gave me strength to write another and another. By the end I wasn't remaining true to anything but the story I wanted to tell.

I don't like stories where I'm being given pages and pages of detail.

There are very few things I would love to do other than a life of writing, and I think being a singer-songwriter and being an anthropologist are the two other things I can imagine doing.

When you have people who get angry quickly, you have to learn the rules to avoid being in that situation.

I didn't major in anthropology in college, but I do feel I had an education in different cultures very early on. My parents divorced when I was eleven, and my father immediately married a woman with three children and was with her for five years. When they got divorced, he immediately married a woman with four children. In the meantime, my mother married a man who had seven children. So I was going from one family to another between the ages of eleven and eighteen.

I had one family that used a lot of yelling and screaming, and that was very normal. Another side of my family, nobody would raise their voice at all.

Usually, the creating of the book happens while I'm writing the book. I start with Chapter One, with a few ideas and a handful of characters, and the book grows from there.

I loved languages, and loved learning languages. It was fantastic. But I was alone there. I remember that time as a real Virginia Woolf time. More than any language it was her language that influenced me.

I had lived in France before graduate school, but because of Spain, I had a lot of the characters go and spend a good bit of time in Spain.

I tend to elongate the sentences as I'm writing and editing, and there is just something about the feeling of writing longhand that I really love.

I definitely feel that my brain works differently, and words come out differently, if I have a pencil in my hand, rather than if I have a keyboard.

Ever since high school I've been writing in a spiral notebook, in pencil. Everything looks too polished on a computer when you start writing, and I can't really see it. I feel like the words are much more naked in pencil, on a notebook.

There are certain tribes in the middle Sepik that eat raw bat. A certain kind of raw bat is a delicacy.

Anthropology is separated from mass reading, and that is something that bothered Margaret Mead. She always said that she wrote everything for her grandmother, in a way that her grandmother could understand what she was saying.

Anthropological fieldwork is so much like writing a novel. You don't know what the hell is going on.

Anthropologists are great at novelistic observations. I would be thrilled if this novel would encourage anthropologists to write what they see in fictional form.

You write the facts as you see them, and there isn't a lull with a lot of description. No wonder people like to write about murder mysteries and dead bodies!

I love reading fiction about people who are connecting intellectually. I find that exhilarating.

I love this idea of trying to create that intellectual eroticism. That was what I was working toward all along.

I'm always interested in a claustrophobic situation where people might be powerless to do things.

Perhaps all science is merely self-investigation.

Was it possible in any relationship to not disappoint, to do anything more than only briefly rekindle the initial fatal illusion?

I think of companies like Nokia having anthropologists who study how people use cell phones, who do that kind of commercial and marketing work, selling out to corporations. I wonder if that has something to do with the image of the more innocent anthropologist, now gone.

You don't realize how language actually interferes with communication until you don't have it, how it gets in the way like an overdominant sense. You have to pay much more attention to everything else when you can't understand the words. Once comprehension comes, so much else falls away. You then rely on their words, and words aren't always the most reliable thing.