Quotes of All Topics . Occasions . Authors
Unfortunately, the optimistic view that "classical civilization" handed down certain fundamental works that managed to include the knowledge contained in the lost writings has proved groundless. In fact, in the face of a general regression in the level of civilization, it's never the best works that will be saved through an automatic process of natural selection.
A word is used "correctly" when the average hearer will be affected by it in the way intended. This is a psychological, not a literary, definition of "correctness". The literary definition would substitute, for the average hearer, a person of high education living a long time ago; the purpose of this definition is to make it difficult to speak or write correctly.
The Japanese don't write in alphabetic writing; they write in pictographs. So they never became visual, they stayed in the oral world, which is, everything is part of reality. Which means that they can accept any new technology - it's not threatening to them, and they can still continue to maintain their traditional culture, even in the face of high technology.
How rare it is to come across a piece of writing that is unambiguous, unqualified, and also unblurred by understatements or subtleties, and yet at the same time urbane and tolerant. It is a vice of the scientific method when applied to human affairs that it fosters hemming and hawing and a scrupulousness that easily degenerates into obscurity and meaninglessness.
I was never ambitious. I just wanted to have quiet, calm, listen to public radio and say, hello, how are you? Sit down, rest. But I had an early partner named Fred Freeman, a wonderful writer who I met at Northwestern. And I thought we were doing very well with "Jack Paar," and he said, no, we got to go to Hollywood. We got to write sitcom. It's the coming thing.
We go to school and teachers teach us to read and write but nobody teaches us about the purposeful commitment and intentionality it takes to make our marriages healthy and sustain love over a lifetime. Most people seem to think love should "naturally" sustain itself as it did during the beginning of our relationship with each other -but that just isn't realistic.
I can appreciate the idea that with e-books more people would publish, the work would be easier to disseminate, and that it could even be interactive. Being a lover of photography, I especially like the idea that you could include lots of pictures - full-color pictures - with your writing. That to me is exciting! We'll all have to stay tuned to see what develops.
Many friends have said to me, 'I never know when you write your books, because I've never seen you writing, or even seen you go away to write.' I must behave rather as dogs do when they retire with a bone; they depart in a secretive manner and you do not see them again for an odd half hour. They return self-consciously with mud on their noses. I do much the same.
A lot of things appearing under my byline were written in one draft. But when I started to write poetry, I started getting fussy about every syllable. I wouldn't allow the work to be seen unless it felt perfect. Not clunky at all, no clunky syllables. So, really, for the printed page, it had to have a feeling of rhythmic and syntactic verisimilitude or something.
You could perhaps better tell the story of a place by writing of a tiny village as a sort of prism into the bigger issues the culture was facing. It struck me as a better way to learn about a place, or at least a different way, than just going to interview the president. So I have often tried to tell the story of a place through people there. But I'm just amazed.
Film is such an extraordinary rich medium which can handle so many different modes of operation, combining together in the same place all these extraordinary disciplines which may be executed in their own right - music, writing, picture making of all kinds, and I often feel that some filmmakers make films with one eye closed and two hands tied behind their backs.
Writing original songs is much, much harder (I think) because you only have yourself to conjure up EVERY single moment a listener is going to hear. It's a craft that goes directly from your brain to their ears. You can never be sure that what you're writing is gonna be good enough to keep a listener engaged and truly experience something. It's a shot in the dark.
I'm still learning. It's all a learning curve. Every time you sit down, with any given episode of any given show, it is a learning curve. You're learning something new about how to tell a story. But then, I've felt that way about everything I've ever done - television, features or whatever. Directing or writing, it always feels like the first day of school to me.
Nine-tenths of the value of a sense of humor in writing is not in the things it makes one write but in the things it keeps one from writing. It is especially valuable in this respect in serious writing, and no one without a sense of humor should ever write seriously. For without knowing what is funny, one is constantly in danger of being funny without knowing it.
I just think that the skepticism about truth has almost completely flipped - from being something associated with generally left-leaning progressives to being something which is a tool of right-wing populists and demagogues. I think a lot of those people writing books ten years ago would now think those books are no longer needed, they've kind of been vindicated.
When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.
Ancient art has a specific inner content. At one time, art possessed the same purpose that books do in our day, namely: to preserve and transmit knowledge. In olden days, people did not write books, they incorporated their knowledge into works of art. We would find a great many ideas in the works of ancient art passed down to us, if only we knew how to read them.
STRAUSS:Have you ever thought about putting those experiences into a book? RICHIE:I did decide to write about what i experienced in climbing to the top. And finally when I got there, I discovered what was at the top.You know what was there? STRAUSS: No, I don't. RICHIE: Nothing. Not one thing. What was at the top was all the experiences that you had to get there.
It's not that you get a cliché and then wiggle it about or use synonyms. You don't take an ordinary decorative paragraph and give it style. What you're trying to do is be faithful to your perceptions and transmit them as faithfully as you can. I say these sentences until they sound right. There's no objective reason why they're right. They just sound right to me.
Love your material. Nothing frightens the inner critic more than the writer who loves her work. The writer who is enamored of her material forgets all about censoring herself. She doesn't stop to wonder if her book is any good, or who will publish it, or what people will think. She writes in a trance, losing track of time, hearing only her characters in her head.
One problem with writing on the computer, as I do, is that the page is never really 'blank." It is backed by all this energy or potential energy...one can always check the New York Times, or look at real estate, or investigate some intriguing new person in one's life. The span and space for writing feels like a tunnel under these massive mountains of information.
Everyone has doors in the living room of their lives that they assume are locked. Doors that lead to artistic expression. People say "I have no talent -- I can't dance or sing or paint or write poetry or play an instrument." More often than not the doors are not locked, just closed. One may turn the handle, open the door and pass through into a larger life space.
Bloggers and other flavors of lone wolf are publishing heart-wrenching photo-essays from the front line of the recovery effort. Newspapers and TV networks? They're writing about the temperature of the water in some part (they don't specify which) of some damaged reactor, illustrating it with video screen grabs of machinery they don't understand enough to explain.
After I found out that I was playing music and that I'd have to learn how to read and write music, I started doing that about two years later. Finally, I said, "Oh, that means what I really want to do is to be a composer." But when I was coming up in Texas, there was segregation. There was no schools to go to. I taught myself how to read and how to start writing.
I'm often quite gloomy about the prospects for the human future. But, although I have no competence to intervene directly in a political movement, I hope that what I write may, in combination with the suggestions of others, cause a shift in perspective that will inspire a world-wide movement to accept the only solution to climate change. And before it's too late.
My first attempt at writing was very unstructured and formless, with shifting points of view. I was trying to understand how long form might work, and I realized I had something shapeless. It was a total car wreck. But I still felt I could pull it off. So I ditched that attempt and started writing in the opposite manner, in first person, with a driving narrative.
To be quite honest, along with thinking and such when it comes to writing, I'm not into words like "theory." I'm a PhD dropout. No matter how many twenty-five-page papers I wrote, I never felt like I was saying much. I didn't feel like the writer of the book, whose work I was analyzing, would have been impressed. It didn't matter how much time or effort I put in.
Perfectionism has nothing to do with getting it right. It has nothing to do with fixing things. It has nothing to do with standards. Perfectionism is a refusal to let yourself move forward. It is a loop-an obsessive, debilitating closed system that causes you to get stuck in the details of what you are writing or painting or making and to lose sight of the whole.
The words are clear as in the reflection of the world on the water. Therefore write the Word at once, everywhere, from now till your hand is paralyzed, for THERE will be your work for GOD, since you can not work for God in other ways, and would not, & don't know how, or bend that way, from habit, & from talent in the use & signification & arrangement of the Word.
So why do I write, torturing myself to put it down? Because in spite of myself I've learned some things. Without the possibility of action, all knowledge comes to one labeled "file and forget," and I can neither file nor forget. Nor will certain ideas forget me; they keep filing away at my lethargy, my complacency. Why should I be the one to dream this nightmare?
Sadly I write in my quiet room, alone as I have always been, alone as I will always be. And I wonder if my apparently negligible voice might not embody the essence of thousands of voices, the longing for self expression of thousands of lives, the patience of millions of souls resigned like my own to their daily lot, their useless dreams, and their hopeless hopes.
If you're going to write about something it becomes a damn sight more interesting than if you're not going to write about it, because you engage with it actively in a way that you wouldn't if you were just passing through or if you were going to St Helens to visit family or if it was a place that made you resentful because you'd always wanted to escape from there.
There is some confusion as to what magic actually is. I think this can be cleared up if you just look at the very earliest descriptions of magic. Magic in its earliest form is often referred to as “the art”. I believe this is completely literal. I believe that magic is art and that art, whether it be writing, music, sculpture, or any other form is literally magic.
It's funny because you do often read in recounts of very famous albums, people tend to focus on mistakes in really positive ways, and there's certain mistakes of my own that I always do find on every record that I needed to accept. I find it really interesting to talk about. I always write songs at the wrong tempos, and I have to learn to accept that a little bit.
Anthropologists visit the temple sites and read the inscriptions and make up stories about the Maya, but they do not read the signs correctly. Its just their imagination. Other people write about prophecy in the name of the Maya. They say that the world will end in December 2012. The Mayan elders are angry with this. The world will not end. It will be transformed.
I think all writing is political. All writing shows a preoccupation with something, whatever that thing might be, and by putting pen to paper you are establishing a hierarchy of some sort - this emotion over that emotion, this memory over that memory, this thought over another. And isn't that process of establishing a hierarchy on the page a kind of political act?
I never start with what lots of people think of as a subject or a theme. They're school words, not art words. So, writing essays busts my arse because the art is in addressing the subject. I find it really difficult and monstrously time-consuming. In an essay I need to employ my imagination but it's indentured in a way it's not when I'm free to make everything up.
We need to write because so many of our stories are not being heard. Where could they be heard in this era of fear and media monopolies? Writing allows us to transform what has happened to us and to fight back against what's hurting us. While not everyone is an author, everyone is a writer and I think that the process of writing is deeply spiritual and liberatory.
Here are examples of real women who have done real things: good, bad, and in between. We're expanding not just the definition of the female or feminine hero, but also villains and more complex, nuanced female characters. Too often I hear men say, "I don't know how to write women." Here you go, here are five incredible women you can use to inspire your own stories.
If you want to write you should learn the alphabet. You write and write and in the end you hava a beautiful, perfect alphabet. But it isn’t the alphabed that is important. The important thing is what you are writing, what you are expressing. The same thing goes for photography. Photographs can be technically perfect and even beautiful, but they have no expression.
Writing keeps me at my desk, constantly trying to write a perfect sentence. It is a great privilege to make one's living from writing sentences. The sentence is the greatest invention of civilization. To sit all day long assembling these extraordinary strings of words is a marvelous thing. I couldn't ask for anything better. It's as near to godliness as I can get.
I write about, more or less, everything I can think of, that is I stretch my imagination as far as it'll go. I am kind of stuck in the middle as far as my life goes, and hence my imagination tends to zero in on things which are indeed in the middle. That is, I don't write about the very rich, who I scarcely know, or the very poor who I don't know very well either.
People get inspired to write, paint, draw, sing, sculpt, dance in many different ways. And there are many types of art. But the one thing that they all have in common is that they are all a sort of magic. Sometimes the magic flows from one’s fingers, other times it is transferred to the person who experiences the result. Magic has always worked in mysterious ways.
I know quite well that one needs ridiculous, mad situations like that; one can't write really well about anything else. Why was that old fellow such a marvelous propaganda technician? Because he had so many insane, excruciating things to get excited about. You've got to be hurt and upset; otherwise you can't think of the really good, penetrating, X-rayish phrases.
When I was 40, I wrote my first book, The Pilgrimage, and I said to myself, "why did it take so long for me to write this book?" Because my dream, since I was 10 years old, was to be a writer. I said, I have to revisit my life using a metaphor, and the metaphor was basically this boy that has a dream and has to go far away to realize that his dream is close to him.
Great scientific minds, from Claudius Ptolemy of the second century to Isaac Newton of the seventeenth, invested their formidable intellects in attempts to deduce the nature of the universe from the statements and philosophies contained in religious writings.... Had any of these efforts worked, science and religion today might be one and the same. But they are not.
I could send myself right back to the day that I wrote "Angel Of The Morning," how it felt. I had a buzz through me that morning that was so powerful. I knew I had done something that meant something, because of that feeling. It wasn't a question of whether other people liked it ... I loved it. To me, it had to be one of the most important love stories of all time.
In my twenties, it was so important for me to show people I had all these other books and these other sorts of writing in me, .. A lot of authors, if their first book is a success, they're terrified to write a second one. But in my case, since the first book wasn't considered a literary book, I was really determined to show people I could do other types of writing.
I've had a long association with the theater over the years but I had never produced a play and it was something that I'd always wanted to do.The movies moved away from dramas, and I think that I'm very excited by the opportunity to take smart writing that takes risks and see it on stage. It's exciting to see that engagement between the audience and the playwright.
Success is something you should never take into consideration: if you follow it it'll elude you. It's important to really love your work as a writer, to read loads to the point where you can recognise blindfolded, hearing them read, the writers of yesterday and today. It's important to write every day, for hours. To have faith in your imagination and let it wander.