Peter Carey
Peter Carey
Peter Philip Carey AOis an Australian novelist. Carey has won the Miles Franklin Award three times and is frequently named as Australia's next contender for the Nobel Prize in Literature. Carey is one of only four writers to have won the Booker Prize twice—the others being J. G. Farrell, J. M. Coetzee and Hilary Mantel. Carey won his first Booker Prize in 1988 for Oscar and Lucinda, and won for the second time in 2001 with True History of the...
NationalityAustralian
ProfessionNovelist
Date of Birth7 May 1943
CountryAustralia
What I find really attractive is something that's going to be a little dangerous. Something that might get me into trouble; you know, you turn up in London and you've just rewritten Dickens. And, of course, then you think, 'What have I done?
I don't think you have the right to shout about other people's private life.
Nostalgia is something we think of as fuzzy. But it's pain. Pain concerning the past.
I think it's really boring, from the point of view of the novelist, to write about yourself. Tedious. But that's very hard to explain to people who really don't believe in the possibility of invention.
If you ever read one of my books I hope you'll think it looks so easy. In fact, I wrote those chapters 20 times over, and over, and over, and that if you want to write at a good level, you'll have to do that too.
I think that thing about the destruction of the world is there all the time, it's there every day when we look out the window.
It did not occur to me that I might be a writer until I flunked out of my first year as a chemistry major, and found work as an apprentice writer of Volkswagen ads.
I like how they are. I think they're great. And their communities are communities. I have a greater sense of community in New York than almost anywhere I've ever lived. Really, it's terrific.
I thought that that was a really Australian story. And I wasn't mad at Dickens about that at all. I thought that seemed like us, in all sorts of ways.
I have never begun a novel which wasn't going to stretch me further than I had ever stretched before.
You could not tell a story like this. A story like this you could only feel.
One has to be able to twist and change and distort characters, play with them like clay, so everything fits together. Real people don't permit you to do that.
So in the first draft, I'm inventing people and place with a broad schematic idea of what's going to happen. In the process, of course, I discover all sorts of bigger and more substantial things.
The great thing about using the past is that it gives you the most colossal freedom to invent. The research is necessary, of course, but no one writes a novel to dramatically illustrate what everybody already knows.