Nicholson Baker
Nicholson Baker
Nicholson Bakeris an American novelist and essayist. His fiction generally de-emphasizes narrative in favor of careful description and characterization. He often focuses on minute inspection of his characters' and narrators' stream of consciousness. Baker has written about poetry, literature, library systems, history, politics, time manipulation, youth, and sex. He has written about libraries getting rid of books and newspapers and created the American Newspaper Repository. He received a National Book Critics Circle Award in 2001 for his nonfiction book Double...
NationalityAmerican
ProfessionNovelist
Date of Birth7 January 1957
CityNew York City, NY
CountryUnited States of America
Many good poets are really essayists who write very short essays.
While I was writing I assumed it would be published under a pseudonym, and that liberated me: what I wrote was exactly what I wanted to read.
If you write every day, you're going to write a lot of things that aren't terribly good, but you're going to have given things a chance to have their moments of sprouting.
Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.
I hadn't played any music since freshman year of college, more than thirty years ago, so I had to relearn everything. I started writing songs. Some were dance and trance songs (I listen to them a lot while I'm writing), and some were love songs, because that after all is what music is about - dancing and trancing and love and love's setbacks.
Each decision - to kill, to sign a petition, to write a letter, to make a speech, to attack, to lie, to surrender - was made at some point in somebody's day.
Sometimes I'll spend an hour writing a tiny email. I work on it until I've created the illusion that I've dashed it off in three minutes. If I make a typo, I let it stand. Sometimes in fact I correct the typo without thinking, and then I back up and retype the typo so that it'll look more casual. I don't know why.
When I first wanted to be a writer, I learned to write prose by reading poetry.
What sugar-packet manufacturer could have known that people would take to flapping the packet back and forth to centrifuge its contents to the bottom, so that they could handily tear off the top?
From my music training, I knew that, some Spanish rhythms apart, 5/4 is a time signature used only in the modern era. Holst's Mars from the Planets is 5/4. But if you speak lines of poetry in that pattern you just end up hitting the off-beats. It's only when you add a rest - a sixth beat - that it sounds as it surely should sound.
Women are much more in touch with the backs of themselves than men are: they can reach higher up on their back, and do so daily to unfasten bras; they can clip and braid their hair; they can keep their rearward blouse-tails smoothly tucked into their skirts.
E.B. White's essays are the best things I've read about Maine - especially the one in which he's not sure if he can go out sailing any more in his sloop.
The music wasn't going to happen, and I realized I had read so little. I didn't know my way around any century. I was very under read.
That was the problem with reading: you always had to pick up again at the very thing that had made you stop reading the day before.