Penelope Lively Quotes

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The consideration of change over the century is about loss, though I think that social change is gain rather than loss.

I'm not an historian but I can get interested - obsessively interested - with any aspect of the past, whether it's palaeontology or archaeology or the very recent past.

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There's a preoccupation with memory and the operation of memory and a rather rapacious interest in history.

I didn't write anything until I was well over 30.

It was a combination of an intense interest in children's literature, which I've always had, and the feeling that I'd just have a go and see if I could do it.

I didn't think I had anything particular to say, but I thought I might have something to say to children.

We read Greek and Norse mythology until it came out of our ears. And the Bible.

I'm now an agnostic but I grew up on the King James version, which I'm eternally grateful for.

I can walk about London and see a society that seems an absolutely revolutionary change from the 1950s, that seems completely and utterly different, and then I can pick up on something where you suddenly see that it's not.

I'm not an historian and I'm not wanting to write about how I perceive the social change over the century as a historian, but as somebody who's walked through it and whose life has been dictated by it too, as...

I didn't want it to be a book that made pronouncements.

Deep down I have this atavistic feeling that really I should be in the country.

I'm writing another novel and I know what I'm going to do after, which may be something more like this again, maybe some strange mixture of fiction and non-fiction.

I rather like getting away from fiction.

I have had to empty two family homes during the last few years - first, the house that had been my grandmother's since 1923, and then my own country home, which we had lived in for over twenty years.

I'm intrigued by the way in which physical appearance can often direct a person's life; things happen differently for a beautiful woman than for a plain one.

I've always been fascinated by the operation of memory - the way in which it is not linear but fragmented, and its ambivalence.

The Photograph is concerned with the power that the past has to interfere with the present: the time bomb in the cupboard.

It seems to me that everything that happens to us is a disconcerting mix of choice and contingency.

We make choices but are constantly foiled by happenstance.

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