Nicole Krauss

Nicole Krauss
Nicole Krauss is an American author best known for her three novels Man Walks Into a Room, The History of Loveand Great House. Her fiction has been published in The New Yorker, Harper's, Esquire, and Granta's Best American Novelists Under 40, and has been collected in Best American Short Stories 2003 and Best American Short Stories 2008. Her novels have been translated into 35 languages. In 2010, she was selected as one of The New Yorker's "20 Under 40" writers...
NationalityAmerican
ProfessionAuthor
Date of Birth18 August 1974
CountryUnited States of America
The truth was I'd given up waiting long ago. The moment had passed, the door between the lives we could have led and the lives we led had shut in our faces. Or better to say, in my face. Grammar of my life: as a rule of thumb, wherever there appears a plural, correct for singular. Should I ever let slip a royal We, put me out of my misery with a swift blow to the head.
The moment had passed, the door between the lives we could have led and the lives we led had shut in our faces.
For me, what I am making in the novel is a place to live. When I first switched from poetry to novels, I was asked why, and the metaphor I came up with was about poems as rooms. You can make a room perfect, but then you have to shut the door and never go back, whereas a novel is like a house - it can never be perfect, but you can make a life in it.
You’re lost in your own world, in the things that happen there, and you’ve locked all the doors. Sometimes I look at you sleeping. I wake up and look at you and I feel closer to you when you’re like that, unguarded, than when you’re awake. When you’re awake you’re like someone with her eyes closed, watching a movie on the inside of your eyelids. I can’t reach you anymore. Once upon a time I could, but not now, and not for a long time.
I have a very strong sense of architecture in my novels. But at first it's sometimes like building a doorknob before you have a door, and a door before you have a room.
All my life I have arrived early only to find myself standing self-consciously on a corner, outside a door, in an empty room, but the closer I get to death the earlier I arrive, the longer I am content to wait, perhaps to give myself the false sensation that there is too much time rather than not enough.
Getting a book published made me feel a little bit sad. I felt driven by the need to write a book, rather than the need to write. I needed to figure out what was important to me as a writer.
Don’t you see?” I said. “He could change every detail, but he couldn’t change her.” “But why?” His obtuseness frustrated me. “Because he was in love with her!” I said. “Because, to him, she was the only thing that was real.
("Let's stand under a tree," she said. "Why?" "Because it's nicer." "Maybe you should sit on a chair, and I'll stand above you, like they always do with husbands and wives." "That's stupid." "Why's it stupid?" "Because we're not married." "Should we hold hands?" "We can't." "But why?" "Because, people will know." "Know what?" "About us." "So what if they know?" "It's better when it's a secret." "Why?" "So no one can take it from us.")
He died alone because he was too embarrassed to phone anyone.
At times I believed that the last page of my book and the last page of my life were one and the same, that when my book ended I'd end, a great wind would sweep through my rooms carrying the pages away, and when the air cleared of all those fluttering white sheets the room would be silent, the chair where I sat empty.
No, what I felt was the torment of waiting, stuck between the end of one sentence and the beginning of the next which might or might not bring a hail storm, plane crash, poetic justice, or a miraculous reversal.
When I was with Yoav, everything in me that had been sitting stood up. He had a way of looking at me with a kind of unabashed directness that made me shiver. It's something amazing to feel that for the first time someone is seeing you as you really are, not as they wish you, or you wish yourself, to be.
We search for patterns, you see, only to find where the patterns break. And it’s there, in that fissure, that we pitch our tents and wait.