Mark Haddon
Mark Haddon
Mark Haddonis an English novelist, best known for The Curious Incident of the Dog in the Night-Time. He won the Whitbread Award, Guardian Prize, and a Commonwealth Writers Prize for his work...
NationalityEnglish
ProfessionNovelist
Date of Birth26 September 1962
child english-novelist fiction readers reads
Young readers have to be entertained. No child reads fiction because they think it's going to make them a better person.
britain functions genuine life perform reaction readers tradition
I think Britain has this tradition which suggests that if you make the readers laugh too much, you can't really be serious. Whereas, I think one of the functions laughter can perform in a book, as in life, is that it's a reaction to genuine horror.
english-novelist exotic foreign
I think the U.K. is too small to write about from within it and still make it seem foreign and exotic and interesting.
constant despite draw eventually evidence good head kept life spend trying understand whereas
I always thought I'd eventually learn how to draw really well, and despite constant evidence to the contrary, I just kept on trying. If you're too good at anything, you don't have to think about the process, whereas I feel like I spend my life with my head under the bonnet, trying to understand how everything works.
dissimilar effect fit good knows work writer
I'm a writer! If you work in an office, it dampens you. It makes you fit a routine. The effect of being a writer is not dissimilar to being long-term unemployed. And everyone knows that is not good for you.
teenager team school
As a teenager, I was always this strange mixture of kind of vice-captain of the rugby team and sensitive artist type the rest of the time. I was sent away to this public school in the middle of nowhere, and I think we managed to completely miss out on normal youth culture.
want-something said unlikely
But I said that you could still want something that is very unlikely to happen.
children book writing
I started writing books for children because I could illustrate them myself and because, in my innocence, I thought they'd be easier.
stars nice taken
And when you look at the sky you know you are looking at stars which are hundreds and thousands of light-years away from you. And some of the stars don’t even exist anymore because their light has taken so long to get to us that they are already dead, or they have exploded and collapsed into red dwarfs. And that makes you seem very small, and if you have difficult things in you life it is nice to think that they are what is called negligible, which means they are so small you don’t have to take them into account when you are calculating something.
real drama giving
A lot of roles for people with disabilities are quite patronising. It's a real pity when they are just used to give dull PC kudos to a drama, or when they're wheeled on in a tokenistic way without any real involvement in the plot.
hate decision reason-why
But in life you have to take lots of decisions and if you don't take decisions you would never do anything because you would spend all your time choosing between things you could do. So it is good to have a reason why you hate some things and you like others.
thinking talking mirrors
Usually people look at you when they're talking to you. I know that they're working out what I'm thinking, but I can't tell what they're thinking. It is like being in a room with a one-way mirror in a spy film.
flower garden years
What actually happens when you die is that your brain stops working and your body rots, like Rabbit did when he died and we buried him in the earth at the bottom of the garden. And all his molecules were broken down into other molecules and they went into the earth and were eaten by worms and went into the plants and if we go and dig in the same place in 10 years there will be nothing exept his skeleton left. And in 1,000 years even his skeleton will be gone. But that is all right because he is a part of the flowers and the apple tree and the hawthorn bush now.
jobs children fiction
At 20, 25, 30, we begin to realise that the possibilities of escape are getting fewer. We have jobs, children, partners, debts. This is the part of us to which literary fiction speaks.