"In some way, description is violation. Does beauty forgive everything? If we make something beautiful enough, does that mean you get a free pass? I don't know. I hope so."
"There's a reason why Mr. Joyce spent much of his adult life in Trieste, and that's because he couldn't run into people there-especially people from Dublin, whose lives he used in his work, most notably in 'Dubliners.'"
"Joyce wrote about sex, disclosing things that his contemporaries didn't-and certainly breaking from the mores of his predecessors. That was part of why his work was so shocking."
"When he wrote this book, he went into a version of what we in Pakistan call pardah -he stopped going out. Here's a guy who used to dine out seven nights a week."
Daniyal Mueenuddin's novel, 'This Is Where the Serpent Lives,' raises questions about the boundaries of inspiration and appropriation in storytelling. Mueenuddin reflects on the consequences of borrowing from real lives, noting that his use of reality has led to controversy. He questions whether beauty can justify the act of appropriation. The article also references James Joyce's use of real-life figures in his works, particularly in 'Dubliners' and 'Ulysses,' and Marcel Proust's seclusion while writing 'In Search of Lost Time.'
Read at The New Yorker
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