Sarah Weinman
Quotes by Sarah Weinman
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In the summer of 1997, a little more than half a lifetime ago, I got my first proper summer job. The job, with one of the many branches of Canada's federal government in Ottawa, covered the entire tuition for my sophomore year of college.
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Sue Grafton's 'A Is for Alibi', the 1982 novel that introduced the world to private detective Kinsey Millhone, wasn't seen as the pioneering achievement we now know it to be.
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As an inveterate lover of mystery, cracking the code of a writer's true identity has the same effect, for me, as tasting forbidden fruit.
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True-crime shows and podcasts aren't the only ones flattening the complexity of forensic science into easy-to-grasp narratives: journalists do so, too. They say DNA or trace evidence 'matches' a suspect, when scientists can't be so definitive.
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Longest book was '2666' by Roberto Bolano, and it was an irregular reading experience. I read the first four parts during a cross-country plane trip, reading at slightly slower-than-usual speed but surprised at how accessible the book was compared with 'The Savage Detectives.'
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'A Spy in the House', the first of Y. S. Lee's 'The Agency' novels, is pure confection, an historical romp through England at the height of The Great Stink that imagines a secret spy ring for women tucked away where few notice but powerful factions clamor for their services.
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'The Choirboys' is very much a product of its mid-1970s time, especially in its two-dimensional portrayals of cop groupies Ora Lee and Carolina Moon, but the energy of Wambaugh's newfound, blackly comedic voice is a revelation, a trap-door opening into all facets of a policeman's world.
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Alan Jay Lerner needed a hit. The Broadway lyricist and librettist was a decade removed from his greatest successes when his partnership with composer Frederick Loewe produced something approaching unholy alchemy.
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I first read 'Lolita' when I was 16, which I think is a little bit young. But it was a thrilling and disturbing read because it was the first time I really sensed that you could have an unreliable narrator, that you didn't have to sort of tell the truth in a narrative, that there could be something deeper and richer and more complicated going on.
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'A Burglar's Guide to the City' makes disparate connections seem obvious in hindsight, and my worldview is altered a little bit more, and far for the better, as a result. We'll never know, but I suspect Donald Westlake would have enjoyed it - and perhaps been a little unsettled by it, too.
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Having set its tonal template, Vertigo Crime laid low for a few months before starting in earnest at the beginning of 2010.
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My one criticism of Vertigo Crime to date is that it's been a boys' club, reveling in violence that, while entertainingly lurid, lacks depth. Of course, the comics world is deliberately double-dimensional - and shouldn't apologize for being so.
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'Basic Black with Pearls' contains overt references to Virginia Woolf and covert ones to feminist classics like Kate Chopin's 'The Awakening' and Charlotte Perkins Gilman's 'The Yellow Wallpaper.' The scholar Ruth Panofsky, who writes extensively about Weinzweig, sees echoes of George Eliot.
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Reading 'Ghost Waltz' and 'Nine and a Half Weeks' side by side, Day's vulnerabilities come shimmering into view. Both books examine the consequences of relationships marked by withholding - be it her lover's effortless domineering humiliation or her parents' shutting the door on discussing Herr Seiler's deep-seated Nazi ties.
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The 500 years following the fall of the Western Roman Empire were dubbed by the poet Petrarch 'dark.' Although the 14th-century Italian was referring to a literary decline, the term caught on to denote the seemingly backward turn the Western world took with regard to religious and technological developments.
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If you think the shifting tectonics of world history might make for a juicy crime fiction backdrop, the last decade or so has proved you right.
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The 'Vampire of Ropraz' claims to be based on a true story, but the name of Rosa's father matches that of a notable Swiss artist and restorer. The eventual suspect has the overlong teeth and shambling menace of a would-be vampire, but Chessex leaves the real possibility of his guilt an open question.
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'The Lost Symbol' has much to impart about the mind-body problem as filtered through the work of Peter's younger sister Katherine, who more than dabbles in noetic science, or 'leading edge research into the potentials and powers of consciousness', according to the website of the real-life Institute for Noetic Science, based in Northern California.
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