Fecha de nacimiento: 10. Octubre 1924
Fecha de muerte: 7. Septiembre 1994
Otros nombres: 詹姆士．克萊威爾
James Clavell fue un novelista y guionista famoso por sus novelas Shogun , Tai-pan y El rey de las ratas, así como la película La gran evasión.
— James Clavell
Shōgun
— James Clavell
Context: Changi became my university instead of my prison. … Among the inmates there were experts in all walks of life — the high and the low roads. I studied and absorbed everything I could from physics to counterfeiting, but most of all I learned the art of surviving.
As quoted in [http://query.nytimes.com/gst/fullpage.html?res=9D03E4D61138F93BA3575AC0A962958260&sec=&spon=&pagewanted=all "James Clavell, Best-Selling Storyteller of Far Eastern Epics, Is Dead at 69" by William Grimes in The New York Times (8 September 1994)]
— James Clavell
Context: Changi was set like a pearl on the eastern tip of Singapore Island, iridescent under the bowl of tropical skies. It stood on a slight rise and around it was a belt of green, and farther off the green gave way to the blue-green seas and the seas to infinity of horizon.
Closer, Changi lost its beauty and became what it was — an obscene forbidding prison. Cellblocks surrounded by sun-baked courtyards surrounded by towering walls.
Inside the walls, inside the cellblocks, story on story, were cells for two thousand prisoners at capacity. Now, in the cells and in the passageways and in every nook and cranny lived some eight thousand men....
These men too were criminals. Their crime was vast. They had lost a war. And they had lived.
Prologue
— James Clavell
Context: Changi was set like a pearl on the eastern tip of Singapore Island, iridescent under the bowl of tropical skies. It stood on a slight rise and around it was a belt of green, and farther off the green gave way to the blue-green seas and the seas to infinity of horizon.
Closer, Changi lost its beauty and became what it was — an obscene forbidding prison. Cellblocks surrounded by sun-baked courtyards surrounded by towering walls.
Inside the walls, inside the cellblocks, story on story, were cells for two thousand prisoners at capacity. Now, in the cells and in the passageways and in every nook and cranny lived some eight thousand men....
These men too were criminals. Their crime was vast. They had lost a war. And they had lived.
Prologue
— James Clavell
Context: I asked all kinds of people of every age, "You know the 'I pledge allegiance…'" but before I could finish, at once they would all parrot it, the words almost always equally blurred. In every case discovered that not one teacher, ever — or anyone — had ever explained the words to any one of them. Everyone just had to learn it to say it. The Children's Story came into being that day. It was then that I realized how completely vulnerable my child's mind was — any mind for that matter — under controlled circumstances. Normally I write and rewrite and re-rewrite, but this story came quickly — almost by itself. Barely three words were changed. It pleases me greatly because it keeps asking me questions … Questions like what's the use of "I pledge allegiance" without understanding? Like why is it so easy to divert thoughts and implant others? Like what is freedom and why is it so hard to explain? The Children's Story keeps asking me all sorts of questions I cannot answer. Perhaps you can — then your children will…
Afterword to his short story "The Children's Story" (1963).
— James Clavell
Context: I asked all kinds of people of every age, "You know the 'I pledge allegiance…'" but before I could finish, at once they would all parrot it, the words almost always equally blurred. In every case discovered that not one teacher, ever — or anyone — had ever explained the words to any one of them. Everyone just had to learn it to say it. The Children's Story came into being that day. It was then that I realized how completely vulnerable my child's mind was — any mind for that matter — under controlled circumstances. Normally I write and rewrite and re-rewrite, but this story came quickly — almost by itself. Barely three words were changed. It pleases me greatly because it keeps asking me questions … Questions like what's the use of "I pledge allegiance" without understanding? Like why is it so easy to divert thoughts and implant others? Like what is freedom and why is it so hard to explain? The Children's Story keeps asking me all sorts of questions I cannot answer. Perhaps you can — then your children will…
Afterword to his short story "The Children's Story" (1963).
— James Clavell
Context: I asked all kinds of people of every age, "You know the 'I pledge allegiance…'" but before I could finish, at once they would all parrot it, the words almost always equally blurred. In every case discovered that not one teacher, ever — or anyone — had ever explained the words to any one of them. Everyone just had to learn it to say it. The Children's Story came into being that day. It was then that I realized how completely vulnerable my child's mind was — any mind for that matter — under controlled circumstances. Normally I write and rewrite and re-rewrite, but this story came quickly — almost by itself. Barely three words were changed. It pleases me greatly because it keeps asking me questions … Questions like what's the use of "I pledge allegiance" without understanding? Like why is it so easy to divert thoughts and implant others? Like what is freedom and why is it so hard to explain? The Children's Story keeps asking me all sorts of questions I cannot answer. Perhaps you can — then your children will…
Afterword to his short story "The Children's Story" (1963).
— James Clavell
Context: "Changi changed everyone, changed values permanently. For instance, it gave you a dullness about death — we saw too much of it to have the same sort of meaning to outsiders, to normal people. We are a generation of dinosaurs, we the few who survived. I suppose anyone who goes to war, any war, sees life with different eyes if they end up in one piece."
What did you see?"
"A lot of bull that's worshipped as the be-all and end-all of existence. So much of 'normal, civilized' life is bull that you can't imagine. … What frightens you, doesn't frighten me, what frightens me, you'd laugh at."
— James Clavell
Context: Blackthorne was suddenly awake. For a moment he thought he was dreaming because he was ashore and the room unbelievable. It was small and very clean and covered with soft mats. He was lying on a thick quilt and another was thrown over him. The ceiling was polished cedar and the walls were lathes of cedar, in squares, covered with an opaque paper that muted the light pleasantly. Beside him was a scarlet tray bearing small bowls. One contained cold cooked vegetables and he wolfed them, hardly noticing the piquant taste. Another contained a fish soup and he drained that. Another was filled with a thick porridge of wheat or barley and he finished it quickly, eating with his fingers. The water in an odd-shaped gourd was warm and tasted curious — slightly bitter but savory.
Then he noticed the crucifix in its niche.
This house is Spanish or Portuguese, he thought aghast. Is this the Japans? or Cathay?
First lines, Ch. 1
— James Clavell
Context: I can transport matter — anything — at the speed of light, perfectly. Of course this is only a crude beginning, but I've stumbled on the most important discovery since man sawed off the end of a tree trunk and found the wheel. The disintegrator-integrator will change life as we know it. Think what it means. Anything, even humans, will go through one of these devices. No need for cars or railways or airplanes, even spaceships. We'll set up matter-receiving stations throughout the world, and later the universe. There'll never be famine. Surpluses can be sent instantaneously at almost no cost, anywhere. Humanity need never want or fear again. I'm a very fortunate man, Hélène.
André Delambre (David Hedison) to his wife Hélène
— James Clavell
Context: Changi was set like a pearl on the eastern tip of Singapore Island, iridescent under the bowl of tropical skies. It stood on a slight rise and around it was a belt of green, and farther off the green gave way to the blue-green seas and the seas to infinity of horizon.
Closer, Changi lost its beauty and became what it was — an obscene forbidding prison. Cellblocks surrounded by sun-baked courtyards surrounded by towering walls.
Inside the walls, inside the cellblocks, story on story, were cells for two thousand prisoners at capacity. Now, in the cells and in the passageways and in every nook and cranny lived some eight thousand men....
These men too were criminals. Their crime was vast. They had lost a war. And they had lived.
Prologue
— James Clavell
Context: "Changi changed everyone, changed values permanently. For instance, it gave you a dullness about death — we saw too much of it to have the same sort of meaning to outsiders, to normal people. We are a generation of dinosaurs, we the few who survived. I suppose anyone who goes to war, any war, sees life with different eyes if they end up in one piece."
What did you see?"
"A lot of bull that's worshipped as the be-all and end-all of existence. So much of 'normal, civilized' life is bull that you can't imagine. … What frightens you, doesn't frighten me, what frightens me, you'd laugh at."
— James Clavell
Context: Grey was not alone in his hatred. The whole of Changi hated King. They hated him for his muscular body, the clear glow in his blue eyes. In the twilight world of the half alive there were no fat or well-built or round or smooth or fair-built or thick-built men. There were only faces dominated by eyes and set on bodies that were skin over sinews and bones. No difference between them but age and face and height. And in all this world, only the King ate like a man, smoked like a man, slept like a man, dreamed like a man and looked like a man.
Part 1, Ch. 1.
— James Clavell
Context: I get so scared sometimes. The suddenness of our age! Electronics, rockets, earth satellites, supersonic flight, and now this. It's not so much who invents them. It's the fact they exist. … Everything's going so fast, I'm just not ready to take it all in. It's, it's all so quick
Hélène Delambre
