Quotes of All Topics . Occasions . Authors
In many ways I'm similar to Barack Obama, who also has a strange name but was raised by a white American mother. His background is far more complicated than his name would suggest. Furthermore, the fact that I was a child during the hostage crisis has caused me to equate being Iranian with being alienated.
I've known the poet Eileen Myles since the 1990s, when I first moved to New York, and I remember seeing her walking her Pit Bull Rosie around the East Village. She had these beautiful arms and David Cassidy hair and the sort of swagger so many of the gay boys I knew wished we had. We all had crushes on her.
I really look up to writers who are able to write compressed, single-scene stories, where everything happens in a kitchen. But I just can't think that way. For me it would be impossible to write a story where I didn't know what someone's parents did and what their grandparents did and who they used to date.
If 'Star Wars' wasn't enough to prepare me for a dark future, there was the 'Planet of the Apes' franchise, conveniently repeated for me in Los Angeles on KABC's Channel Seven 3:30 movie. Apes enslaving humans! Mutants with boils and an atom bomb! Ape riots in Century City! They killed baby Caesar's parents!
Readers want to visualize your story as they read it. The more exact words you give them, the more clearly they see it, smell it, hear it, taste it. Thus, a dog should be an 'Airedale,' not just a 'dog.' A taste should not be merely 'good' but 'creamy and sweet' or 'sharply salty' or 'buttery on the tongue.'
I think I was lucky to come of age in a place and time - the American South in the 1960s and '70s - when the machine hadn't completely taken over life. The natural world was still the world, and machines - TV, telephone, cars - were still more or less ancillary, and computers were unheard of in everyday life.
I remembered staffing a volunteer table for ACT UP in San Francisco's Castro neighborhood in 1991, on the corner of Castro and 18th Street, and on my table were posters, stickers, and t-shirts that bore the same slogan in all caps - ACT UP slogan house style. I wore one of those shirts to model for passers-by.
As a means of subsidizing lawyers the present nuclear regulation system is well designed - but is there not perhaps a cheaper way of rewarding legal diligence? It would probably be cheaper to give each law school graduate a guaranteed salary of $50,000 a year on the condition that he (or she) not practice law.
While many alternate reality stories ask, 'What might have been?' parallel universe stories literalize the war between good and evil that plays inside each of us every day. It's what makes this type of story so perfect for many fantasy tales: we're all just a coin flip away from being entirely different people.
When I get started each day, I read through and correct the previous day's 2,000 words, then start on the next. As I reach that figure, I try to simply stop and not go on until reaching a natural break. If you just stop while you know what you're going to write next, it's easier to get going again the next day.
During the first million years of its existence, mankind survived five apocalypses without succumbing to extinction. It endured the Apocalypse of Steel, the Apocalypse of Hydrogen, the Apocalypse of Serotonin, and both Apocalypses of Water, the second of which occurred despite certain contracts to the contrary.
ACT UP was trying to explain to Americans that AIDS could affect all of us: that health care that ended once your disease was expensive could affect more than gay men with HIV or AIDS. We were trying to tell them about the future - a future they didn't yet see and would be forced to accept if they failed to act.
The qualities that make parties such a nightmare for people - and also so pleasurable - make them incredibly important inside of fiction. There's a chaos agent quality to them: You just don't know who's going to be there or why. You could run into an old enemy, an old friend, an old friend who's become an enemy.
With undead armies, psychotic angels and exploding airships, Scar Night is a gripping, ripping yarn which rattles along at a great pace. Tether all that to the knock-out image at the heart of the novel-Deepgate, a Gothic city built on a network of chains over a great abyss-and you have urban fantasy at its best.
This great Mughal Emperor [Akbar] was illiterate; he could neither read nor write. However, that had not stopped Akbar from cultivating the acquaintance of the most learned and cultured poets, authors, musicians, and architects of the time - relying solely on his remarkable memory during conversations with them.
I'm afraid Dr. Mondrick chose an unfortunate publicity device. After all, the theory of human evolution is no longer front page news. Every known detail of the origin of mankind is extremely important to such a specialist as Dr. Mondrick, but it doesn't interest the man in the street - not unless it's dramatized.
Where hunger is imposed by external circumstances, the act of starvation remains literal, a tragic biological event that does not serve metaphoric or symbolic purposes. It is only in a country where one is able to choose hunger that elective starvation may come to express cultural conflict or even social protest.
With the Israel stories, it was for me the most surprising way the title would fit in. I kept thinking about, for a lot of my Israeli characters, what it was like to inherit such a complicated and symbiotic relationship to America and to feel how tangled that is, and it's nothing that they chose to do themselves.
Someone asked me about the difference between love and lust. Hmmm. That will take a little thought. How to tell the difference? Well, for guys, if she looks better AFTER you've made love to her than before, that might be love. If you find yourself itching to get out the door afterward, probably just lust, y'know?
Most of my writing takes place at a cramped desk in a cramped apartment, so whenever I get to write on a train or make notes on a road trip, it has an entirely different cadence. And I can remember specific writing sessions while on a train through beautiful countryside in a way I can remember almost nothing else.
I tried to be really nice and like the things other people liked and do the things other people were supposed to do, and what you find out is that they're going to bully you anyway. And I thought, 'You know what? If I'm going to get bullied anyway, I might as well get bullied for making a difference in the world.'
Real history is far more complex and interesting than the simplistic summaries presented in Wikipedia articles. Knowing this allows you to question received wisdom, to challenge 'facts' 'everybody' knows to be true, and to imagine worlds and characters worthy of our rich historical heritage and our complex selves.
Years ago I read an interview with Paula Fox in which she said that in writing, truth is just as important as story. Reading that interview was the first time I really understood that there's no point in trying to impress people with my cleverness when I can just try to write honestly about what matters most to me.
It's the thing I struggle with every day: the mental diligence and stamina needed to sit in front of the computer, open the file, start writing and to keep doing so, word after word, until I've created the next story. A combination of learning disability and chronic health issues make that the hardest thing for me.
The greatest admission a human can make is that perhaps he does not have the intelligence, the vision, the grasp to fully understand the universe, and that perhaps no human ever will. To put it all down to some omnipotent deity is a cop-out. Factor in fairy tales of an afterlife and it becomes a comforting cop-out.
When I wrote a long story about the retreat of sea ice, I made clear it could go the other way for a while, and that doesn't mean we don't know that a warmer world will have less sea ice. It just means there's a lot of variability and people can pay too much attention to the big swings in one direction or the other.
There's this long history of colonialism and the colonial gaze when applied to matters related to China. So a lot of conceptions about China in literary representations in the West are things you can't even fight against because they've been there so long that they've become part of the Western imagination of China.
Even if your novel occurs in an unfamiliar setting in which all the customs and surroundings will seem strange to your reader, it's still better to start with action. The reason for this is simple. If the reader wanted an explanation of milieu, he would read nonfiction. He doesn't want information. He wants a story.
Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.
When sighted people cover their eyes or find themselves in a dark place, this is something that's very terrifying for us. And so in general, we assume that this is what blindness means. But of course, it isn't. For people who were born blind or who go blind at a very young age, that's not at all what blindness means.
My mother had seven children in seven years. No twins. She also had a three-legged beagle who was compelled to bite strangers, a freakishly big double-pawed tomcat who regularly left dead rabbits on the front doorstep, and 70 white mice that one or another of us had smuggled home from my father's research laboratory.
I am haunted by what my life would have been had I not had the courage in my early twenties to leave Pittsburgh for New York City and really commit to being a writer. Pittsburgh is both post-industrial and provincial, and the opportunities there are limited. It would have been quite easy to simply drift through life.
Between what I think, what I want to say, what I believe I say, what I say, what you want to hear, what you believe to hear, what you hear, what you want to understand, what you think you understand, what you understand...They are ten possibilities that we might have some problem communicating. But let's try anyway...
What does it matter, if we tell the same old stories? ...Stories tell us who we are. What we’re capable of. When we go out looking for stories we are, I think, in many ways going in search of ourselves, trying to find understanding of our lives, and the people around us. Stories, and language tell us what’s important.
I think it's also safe to say genre TV and movies were a big influence - the first stories I ever tried to write were Godzilla fan fiction when I was in elementary school, complete with elaborate maps of Monster Island made with multiple sheets of typing paper and nearly six feet wide. I kind of wish I still had those.
I have to expend an awful lot of energy actively undoing the impact of my name. Understandably, people assume that I have at least some connection to Iran. The truth is that I don't. I have very little knowledge about the culture, the language, the history. I've never been to Iran. I've never even been inside a mosque.
I grew up in Los Angeles, and I was always fascinated by the La Brea Tar Pits. Right in the middle of the city, in an area called the Miracle Mile, for crying out loud, we have these eldritch ponds of dark, bubbling goo. And down in the muck, there're all these amazing fossils: mammoth and saber tooth cat and dire wolf.
At a certain point in the writing of any book, you become absolutely certain that it's terrible and is only getting more terrible with every word you write. This is normal. You just have to keep going, push your way through, and have faith that, through practice and experience and determination, you will get to the end.
What tends to happen when people talk about Chinese sci-fi in the West is that there's a lot of projection. We prefer to think of China as a dystopian world that is challenging American hegemony, so we would like to think that Chinese sci-fi is all either militaristic or dystopian. But that's just not the reality of it.
In general, fiction is divided into 'literary fiction' and 'commercial fiction.' Nobody can definitively say what separates one from the other, but that doesn't stop everybody (including me) from trying. Your book probably will be perceived as one or the other, and that will affect how it is read, packaged and marketed.
Write what you care about and understand. Writers should never try to outguess the marketplace in search of a salable idea; the simple truth is that all good books will eventually find a publisher if the writer tries hard enough, and a central secret to writing a good book is to write on that people like you will enjoy.
Writing is akin to method acting. Before the writer can render a fully convincing world, he or she must inhabit that world, and every major character who lives there. I'm not suggesting that one always has to go this far. But I truly believe what makes the setting for my novels come alive is that I've lived there first.
Probably the single-most concrete and substantive thing an American, young American, could do to lower our carbon footprint is not turning off the lights or driving a Prius, it's having fewer kids...we'll soon see a market in baby-avoidance carbon credits similar to efforts to sell CO2 credits for avoiding deforestation.
The benefit of writing a collection - as opposed to a novel - is that I'm able to have some version of the war in each story without having to comment on its all-encompassing nature. Turn the page and here are new characters and new situations, but the war remains... Isn't that how life has been for us for over a decade?
I've always loved short stories. Even before I was a writer I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me. Alice Munro, I felt that way about from an early time. Grace Paley.
I would stay two years in San Francisco, then move to New York in the summer of 1991, for the love of a man who lived there. When I arrived in New York, I had a job waiting for me, courtesy of a bookstore I'd worked at in San Francisco, A Different Light. They had a New York store as well, and arranged an employee transfer.
In general, I think every novel is a political novel, in that every novel is an argument about how the world works, who has power, who has a voice, what we should care about. But political novels can be boringly polemical if they end up being too black and white, too one dimensional, like war is bad, killing people is wrong.
There is and always has been for me a peculiar need to write. This is very different from wanting to be a writer. To be a writer always seemed something so far removed from my talents and abilities and imaginings that it didn't afflict me at all as a notion when I was young. But I was always conscious that I wanted to write.
While writing my memoir, 'When Skateboards Will Be Free,' I would sometimes have to pore over hours of microfilm at the New York Public Library in order to try to get one obscure detail right. For instance, was the Socialist Workers Party originally called the American Workers Party or the Workers Party of the United States?
What a dazzlingly generous, gloriously unpredictable book! Maggie Nelson shows us what it means to be real, offering a way of thinking that is as challenging as it is liberating. She invites us to 'pay homage to the transitive' and enjoy 'a becoming in which one never becomes.' Reading The Argonauts made me happier and freer.