"My interests are different now than they were thirty years ago"
About this Quote
A quiet flex hides inside Terry Brooks's mild sentence: "My interests are different now than they were thirty years ago". It's the kind of line writers deploy to ward off nostalgia without insulting it. Brooks isn't confessing fickleness; he's asserting permission to evolve, publicly, without pleading for absolution from the readers who want him frozen in amber.
Brooks's career context matters. He's long been associated with sprawling, comfortingly familiar epic fantasy, the sort of work that builds an audience relationship based on continuity. In that ecosystem, change can read as betrayal. So the phrasing is strategically plain. No dramatic "I've outgrown" or "I regret". Just a factual time stamp and a shift in focus. That restraint does the rhetorical work: it normalizes creative drift as biology, not ideology.
The subtext is also about aging in public. Thirty years is long enough to encompass entire waves of taste, publishing economics, and genre fashion. For a writer, "interests" isn't just hobbies; it's what questions you're willing to spend years answering on the page. Brooks is hinting that the engine behind the work has changed, and that he intends to follow it even if the brand expects reruns.
There's an implicit boundary here, too. He's inviting readers to come along, but he's also making peace with the fact that some won't. It's a professional statement disguised as personal reflection: the artist retains sovereignty over what he chooses to care about next.
Brooks's career context matters. He's long been associated with sprawling, comfortingly familiar epic fantasy, the sort of work that builds an audience relationship based on continuity. In that ecosystem, change can read as betrayal. So the phrasing is strategically plain. No dramatic "I've outgrown" or "I regret". Just a factual time stamp and a shift in focus. That restraint does the rhetorical work: it normalizes creative drift as biology, not ideology.
The subtext is also about aging in public. Thirty years is long enough to encompass entire waves of taste, publishing economics, and genre fashion. For a writer, "interests" isn't just hobbies; it's what questions you're willing to spend years answering on the page. Brooks is hinting that the engine behind the work has changed, and that he intends to follow it even if the brand expects reruns.
There's an implicit boundary here, too. He's inviting readers to come along, but he's also making peace with the fact that some won't. It's a professional statement disguised as personal reflection: the artist retains sovereignty over what he chooses to care about next.
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