Quotes of All Topics . Occasions . Authors
Everything's weird if you stare at it.
I'm a citizen of the republic of empathy.
Art is an artifice that you try to make seem natural.
Stuff me in a tutu and let's screen experimental videos all day.
I bought an energy bar, and as I ate it a great weariness came over me.
The bullshit never ends. That’s the main thing to remember. It never ends.
Yes, we could solve for why, but we could also eat another slice of coconut cake.
This country was built on the backs of dudes who drank on buses. What we do honors them.
Write what you know. Write what you don't know. But most of all, write what you'd rather not know.
No emotion or insight is too small to inflict on the world. Let it all fly. Don't let it eat you from the inside.
I felt as though I were snorting cocaine, or rappelling down a cliffside, or cliffsurfing off a cliff of pure cocaine.
People gave names to things so they could tell stories about them, goddam fairy tales about children who got out alive.
You think you know yourself, the world. You believe you've got a bead on everybody else's bullshit, but what about your own?
There is nothing quite like the controlled burn of Eugene Marten’s prose. Waste is an exhilarating and unnerving piece of fiction.
I knew I was in the vicinity of a serious lesson, if not about how to live life, then at least how to put some poetry into your craven retreat from it.
Shudder, in fact, is not quite the word for the feeling. Feeling is not quite the word for the feeling. How's bathing at knifepoint in the phlegm of the dead? Is that a feeling?
Kamby Bolongo Mean River is an original and fearless fiction. It bears genetic traces of Beckett and Stein, but Robert Lopez's powerful cadences and bleak, joyful wit are all his own.
Dept. of Speculation is gorgeous, funny, a profound and profoundly moving work of art. Jenny Offill is a master of form and feeling, and she gets life on the page in new, startling ways.
When a translator translates my book, it is no longer just my book. It is the translator's book, too. So the book in another language is almost the work of two people. And that is quite interesting to me.
When you work at home, fellow alums, discipline is the supreme virtue. Suicidal self-loathing lurks behind every coffee break. Activities must be expertly scheduled, from shopping to showers to panic attacks.
I'd become one of those mistakes you sometimes find in an office, a not unpleasant but mostly unproductive presence bobbing along on the energy tides of others, a walking reminder of somebody's error in judgement.
Atticus Lish is a true original and this is a tremendous book, relentless, moving, written in prose of marvelous integrity. Now that America and the novel are dead, I hope we can have more great American novels as alive as this one.
You could touch for a couple of bucks. The window of the booth went up and you stuck out the bills. They might tell you not to pinch, but I was a stroke type anyway. Some guys, I guess they want to leave a mark. Me, I just like the feel.
Of All the Gin Joints is one part cinematic history, one part old Hollywood weirdness, and one part handy basic bar guide, with a dash of romance and more than a few wry twists. Bailey and Hemingway prove themselves very entertaining cultural mixologists.
The translator has to be a good writer. The translator has to hear music too. And it might not be exactly your music because the translator needs to translate the music. And so, that is what you are hoping for: a translator who gets what you are doing but who also gets all the ways in which it won't work in the new language.
Wesley Stace has always been the only genuinely gifted fiction writer who also happens to be a rock star, but Wonderkid is the book he was born to write. And if you prefer your novels brazen, poignant and hilarious, as I do, you were born to read it. Like a great show, this will stay with you long after the last cymbal crash and power strum.
I had a teacher once who said, "If you are going to write fiction, you should only read poetry." I have always been interested in the writers who care about their sentences and who really work on that level. I have always said that I hate writing, I love revision. So, the language is really important to me. And the comedy and the horror that come out of the language.
The place resembled a new model prison, or one that had achieved a provisional utopia after principled revolt, or maybe a homeless shelter for people with liberal arts degrees. The cages brought to mind those labs with their death-fuming vents near my college studio. These kids were part of some great experiment. It was maybe the same one in which I'd once been a subject. Unlike me, though, or the guinea pigs and hares, they were happy, or seemed happy, or were blogging about how they seemed happy.
I am a writer who is definitely working with a specific language and more than English, that language is American. And I work very much in idiom and am very interested in the play of different kinds of rhetoric, whether it is the more high-flown stuff that reeks of age. I love to juxtapose something like that with something more current or urgent. I am always interested not in America by itself, but America as an idea and how that idea has changed over time, in the eyes of the rest of the world and in the eyes of Americans.
One of my big revelations was that nobody cares whether you write your novel or not. They want you to be happy. Your parents want you to have health insurance. Your friends want you to be a good friend. But everyone’s thinking about their own problems and nobody wakes up in the morning thinking, ‘Boy, I sure hope Sam finishes that chapter and gets one step closer to his dream of being a working writer.’ Nobody does that. If you want to write, it has to come from you. If you don’t want to write, that’s great. Go do something else. That was a very liberating moment for me.