Téa Obreht (born Tea Bajraktarević; 30 September 1985) is a Serbian-American novelist. She won the Orange Prize for Fiction in 2011 for The Tiger's Wife, her debut novel.
Being taken seriously, for a young writer, is a wonderful form of encouragement, but at the same time, I don't think one should ever feel like attempting a kind of artistic endeavor is beyond your scope just because of age or inexperience.
When your fight has purpose - to free you from something, to interfere on the behalf of an innocent - it has a hope of finality. When the fight is about unraveling - when it is about your name, the places to which your blood is anchored, the attachment of your name to some landmark or event - there is nothing but hate, and the long, slow progression of people who feed on it and are fed it, meticulously, by the ones who come before them. Then the fight is endless, and comes in waves and waves, but always retains its capacity to surprise those who hope against it.
You never know what's going to happen in your life, and you never know what's going to happen in someone else's life either.
My mother always says that fear and pain are immediate, and that, when they're gone we're left with the concept, but not the true memory.
When I hit a block, regardless of what I am writing, what the subject matter is, or what's going on in the plot, I go back and I read Pablo Neruda's poetry. I don't actually speak Spanish, so I read it translation. But I always go back to Neruda. I don't know why, but it calms me, calms my brain.
In the mess of moving from place to place, I skipped two grades in the space of one year.
Suddenness," he says. " You do not prepare, you do not explain, you do not apologize. Suddenly, you go. And with you, you take all contemplation, all consideration of your own departure. All the suffering that would have come from knowing comes after you are gone, and you are not a part of it.
My grandfather and I were very close.
Kelly Link's prose is conveyed in details so startling and fine that you work up a sweat just waiting for the next sentence to land. This is why we read, crave, need, can't live without short stories.
I think the mythology of death really ran away with me when I was very young.
I am very interested in place, and the influences of place on characters.
I like dark subject matter. I'm not sure what that means about me!
A lot of writers that I know have told me that the first book you write, you write about your childhood, whether you want to or not. It calls you back.
In terms of people that I know, my grandmother and my mother are huge influences on my writing life because they are both massively supportive and always have been of my career.
When you're in a place, the details you focus on are different than details you focus on when you're writing about it.
In the end, all you want is someone to long for you when it comes time to put you in the ground.
Come on, is your heart a sponge or a fist?
Wash the bones, bring the body, leave the heart behind.
I've always written about animals. I'm still trying to process why that is.
No matter how grave the secret, how imperative absolute silence, someone would always feel the urge to confess, and an unleashed secret is a terrible force.