Best 25 quotes of David Bezmozgis on MyQuotes

Here I am: a Russian-speaking Jew living in Canada, and you, an Indian ex-patriot living in San Francisco. All of a sudden we commune in this moment about a much older Russian political dissident.That's the human part of being human: feeling those moments.

I believe I'm very conscious of exactly what I'm doing. I'm auditioning lines of dialogue, and I'm interrogating whether the lines would translate from Russian into English the right way. The English that results can perhaps seem somewhat more formal than colloquial, but not so formal as to feel academic.

If the fidelity [ in a book] isn't maintained, the reader will think your structure is extraneous, or superficial, or that you're trying to curry favor, or live up to the expectations of some sort of genre or structure.

Incident at Vichy, one of my favorite Arthur Miller plays, is a play in which you look at all of the different perspectives of this moral question. And it isn't so easy to decide which position is correct.

In my experience of women, women have a greater capacity. Maybe women, even very pragmatic ones, are less guarded about showing emotions.

I spent seven years writing The Free World. There are a lot of things I accomplished there that I'm very proud of, but I didn't want to spend another seven years writing a book like that.

I think even with women who come across with a tough exterior, the interior is the same. I think you'll find this with women around the word: some women, because of their circumstances, are forced to be tougher, forced to cultivate tougher exteriors.

I think ex-Soviet or Russian-Jewish women are tougher and that comes through. And if they are more pragmatic than the men, it's because they are obliged to be. They have all the female responsibilities and all the male responsibilities.

I think having an uncompromising ideology eventually forces you out of the norm.

I think there are differences between men and women. There is more of a softness to women than there is to men, especially when it comes to those more intimate emotions: feeling love, feeling familial connections.

Language is a personality as well. People are different when they speak different languages.

Maybe the most provocative thing one can do - and I'm not the first one to do it - is to ask the moral and philosophical question: why are some people better than others? Why are some people more moral than others?

Most people will reach a point where, whatever their ideology, they will relent, or conform, and that keeps them kind of in the general mass of people. And for those who find that they can't, all of sudden they leave the general mass, they find that they become exceptions, and exceptional, and often this makes them public.

Nothing is easy in writing. I don't think for anyone. But dialogue is probably what comes most naturally to me.

People everywhere feel differently at different times of their lives.

Some is, I think, the personal in any act of writing. You find yourself caught up: you start a sentence, and it becomes revelatory, not just of the character, but of you as well.

There are books like Darkness at Noon, which from the prose standpoint I don't think is a perfect book. It has flaws. But for its time, it was very politically courageous.

There are books where you can really see the moral question, which I think we answer every day for ourselves, in every interaction we have with people, to a lesser or greater degree.

There are different types of readers. People draw lines at which three things intersect: the character, the author, and the reader.

We all have some ideological quotient in ourselves. And I think it does guide who we are.

When writing dialogue, I hear it in both Russian and English, and try to find a language that combines the two.

When you write a book, you want to have fidelity to the character. Characters and their emotions guide the structure of the novel.

When you write a book, you want to have fidelity to the character. Characters and their emotions guide the structure of the novel. The author is aware that there's a certain amount of information she/he has to provide in order to satisfy the reader, knowing that she/he has set something up that must be paid off, but this payment must be made while maintaining fidelity to the characters.

Why are some people highly principled and willing to do anything for their principles, while most of us are not? And I am willing to not only ask, but also answer the question.

Writing a novel, in an unplanned and unpredictable way, makes you engaged; it takes you into yourself, and it becomes something between you and the character for a moment, and then you move back into the structure of the book. I love those moments, because they are completely unbidden.