Quotes of All Topics . Occasions . Authors
We need to reshape the movement as one of grassroots activists, and not 'professional activists' who populate the seemingly endless number of national animal rights groups. For many people, activism has become writing a check to a national group that is very pleased to have you leave it to them. Although it is important to give financial support to worthy efforts only, giving money is not enough and giving to the wrong groups can actually do more harm than good.
What's in yesterday's newspaper is today's fish-and-chip paper. If it really affects my life so badly, so personally, then I would do something about it. When it's really out of order, or something possibly detrimental to my family, or I'm driven to such a level that I know that this can be picked up and repeated again, I will just write or e-mail the newspaper editor. So, in the next day's newspaper, it might say, "Tracey Emin says this is factually incorrect."
Freud believed that our dreams sometimes recapitulate a speech, a comment we've heard or something that we've read. I always had compositions in my dreams. They would be a joke, a piece of a novel, a witticism or a piece of dialogue from a play, and I would dream them. I would actually express them line by line in the dream. Sometimes after waking up I would remember a snatch or two and write them down. There's something in me that just wants to create dialogue.
Politics becomes a part of a writer's working life. The writer's protagonists are born in the context of the feelings that this atmosphere evokes. How can writers separate themselves from these feelings and create protagonists that come from Mars? Even writers who only write about psychological or internal issues or about love are writing under their prevailing atmosphere, and their writings will take on the hue of the time, place, and mood of their environment.
The short version is that I started an internet diary a long, long time ago (six years!) because I was bored with my job. I figured I would write a few funny things a few times a week until I had enough material to do stand-up. After two or three weeks, I emailed it to some friends. They emailed it to other friends, and more people started reading. Eventually, I realized that stand-up was scary and it would be much easier to just keep writing this stuff at work.
As writers we live life twice, like a cow that eats its food once and then regurgitates it to chew and digest it again. We have a second chance at biting into our experience and examining it. ...This is our life and it's not going to last forever. There isn't time to talk about someday writing that short story or poem or novel. Slow down now, touch what is around you, and out of care and compassion for each moment and detail, put pen to paper and begin to write.
When the artist is truly the servant of the work, the work is better than the artist; Shakespeare knew how to listen to his work, and so he often wrote better than he could write; Bach composed more deeply, more truly than he knew, Rembrandt's brush put more of the human spirit on canvas than Rembrandt could comprehend. When the work takes over, then the artist is enabled to get out of the way, not to interfere. When the work takes over, then the artist listens.
Of course I know that the twins are only words on a page, and I'm certainly not the sort of writer who talks to his characters or harbours any illusions about the creative process. But at the same time, I think it's juvenile and arrogant when literary writers compulsively remind their readers that the characters aren't real. People know that already. The challenge is to make an intelligent reader suspend disbelief, to seduce them into the reality of a narrative.
You know that in order to copyright material somebody has to write it down for you. Any piece of recorded material has to be scored in order for it to be copyrighted. I've seen the scores of my things and they don't resemble the music in any way. If you give them to somebody who has never heard the music and say, "What does this sound like to you?" they'll play you something that has no relationship with the music it derives from. Notation simply isn't adequate.
I wouldn't say the purpose of making art is to enjoy it necessarily. For me, it happens to be the thing I enjoy the most. I don't even know what the purpose of art is really, I just know that is something that makes me feel satisfied in a way that other things don't. That's all I know, that's why I like to write songs and films or draw. I just like to make things and somehow I find it gives me a feeling of satisfaction that I can't find in other areas of my life.
Perfectionism means that you try desperately not to leave so much mess to clean up. But clutter and mess show us that life is being lived. Clutter is wonderfully fertile ground - you can still discover new treasures under all those piles, clean things up, edit things out, fix things, get a grip. Tidiness suggests that something is as good as it's going to get. Tidiness makes me think of held breath, of suspended animation, while writing needs to breathe and move.
If you spend enough time reading or writing, you find a voice, but you also find certain tastes. You find certain writers who when they write, it makes your own brain voice like a tuning fork, and you just resonate with them. And when that happens, reading those writers ... becomes a source of unbelievable joy. It’s like eating candy for the soul. And I sometimes have a hard time understanding how people who don’t have that in their lives make it through the day.
Plate glass... has no beauty of its own. Ideally, you ought not to be able to see it at all, but through it you can see all that is happening outside. That is the equivalent of writing that is plain and unadorned. Ideally, in reading such writing, you are not even aware that you are reading. Ideas and events seem merely to flow from the mind of the writer into that of the reader without any barrier between. I hope that is what is happening when you read this book
All writing is by the grace of God. People do not deserve to have good writing, they are so pleased with bad. In these sentences that you show me, I can find no beauty, for I see death in every clause and every word. There is a fossil or a mummy character which pervades this book. The best sepulchers, the vastest catacombs, Thebes and Cairo, Pyramids, are sepulchers to me. I like gardens and nurseries. Give me initiative, spermatic, prophesying, man-making words.
If you push in every time there's a big moment, then the tenth time you push in, you're not going to get the same effect. Or if you have too many close ups, then when you have a big moment and you want a close-up in order to make a point, it doesn't mean anything because you've already been doing close-ups. It's like writing in all capitals. Then after a while that doesn't mean anything. So, just because you can do something with a camera doesn't mean you should.
When I'm writing a play I hear it like music. I use the same indications that a composer does for duration. There's a difference, I tell my students, between a semi-colon and a period. A difference in duration. And we have all these wonderful things, we use commas and underlining and all the wonderful punctuation things we can use in the same way a composer uses them in music. And we can indicate, as specifically as a composer, the way we want our piece to sound.
I wrote lots of scripts that never got made and they were terrible. I thought they were good at the time. You can't write two scripts and expect your career to take off. Keep writing. Be you. Be original. A lot of people go for a genre, which is fine if you can do that really well, but we all have such layered histories. We all come from a unique background. Write about your past, write about you. Or make stuff up, but make it about something that really matters.
I couldn't have articulated this process at the time; I just sort of did it instinctually. But now when I talk about this with my students all the time, it's one of the first things I address in memoir classes - that you have to put it all in because you're writing your way into the ending of your own story. Even if you think you know what the story is, you don't until you write it. If you start leaving things out you could leave out vital organs and not know it.
I've been doing short-form writing for a decade, and six years ago I signed with an agent, and we've been working on figuring out what my book would be. I was always so embarrassed that it took me so long to figure it out, but I think, in retrospect, I just wasn't ready to write a book six years ago. I wasn't confident enough as a writer and I wasn't coherent enough in my worldview. It just took this long for me to be a mature enough writer and be ready to do it.
I love jazz. I still do. Dave Brubeck and Stan Getz are so good. I took a notification course in Jazz Orchestration. It wasn't a grandiose as you'd think but I did have to to go to Los Angeles to do it and get an understanding of the keyboard because the keyboard became my tool and I used it a lot in transposing and composing. All the flats and time values. I spent a year doing that because in those days you had to be able to write your own music and read sheets.
I have been approached now and again about sitcoms, but, with very few exceptions, one simply needs to move to L.A. for at least a year or two these days if one wants to develop a series - which is what writing a pilot means. I've also been approached about writing episodes for sitcoms, but in order to do that one actually has to watch sitcoms. . . . Life's too short for television, and I don't what it on my actual gravestone, HE STARED AT A BOX FOR 10,000 HOURS.
We're at an interesting phase of Asian and Asian-American writing, where we might succeed in having readers look at us as creative individuals who write with fury and fire about the world, and in new ways, without having them say things like "I read a really good Indian book," or "That Malaysian fellow writes very well." So I hope by identifying as Indian I can get people who don't usually read "ethnic" or "Indian" literature to read that literature and enjoy it.
The novel is a formidable mass, and it is so amorphous - no mountain in it to climb, no Parnassus or Helicon, not even a Pisgah. It is most distinctly one of the moister areas of literature - irrigated by a hundred rills and occasionally degenerating into a swamp. I do not wonder that the poets despise it, though they sometimes find themselves in it by accident. And I am not surprised at the annoyance of the historians when by accident it finds itself among them.
My working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language. . . . Maybe I was only then becoming aware of the weight, the inertia, the opacity of the world--qualities that stick to the writing from the start, unless one finds some way of evading them.
I have learned patience, for sure. Pre-publication is a long waiting game, especially for authors of picture books. We write the manuscript, sign the contract, and wait. It takes a while for the art director to find an illustrator and then the illustrator works on the sketches, and depending on those first round of sketches, it could be a few more months before you see a final illustration. I was surprised at how long it takes for all the pieces to come together.
On the other side, the conservative party, composed of the most moderate, able, and cultivated part of the population, is timid, and merely defensive of property. It vindicates no right, it aspires to no real good, it brands no crime, it proposes no generous policy, it does not build, nor write, nor cherish the arts, nor foster religion, nor establish schools, nor encourage science, nor emancipate the slave, nor befriend the poor, or the Indian, or the immigrant.
Of all the art forms, poetry is the most economical. It is the one which is the most secret, which requires the least physical labor, the least material, and the one which can be done between shifts, in the hospital pantry, on the subway, and on scraps of surplus paper. ... poetry has been the major voice of poor, working class, and Colored women. A room of one's own may be a necessity for writing prose, but so are reams of paper, a typewriter, and plenty of time.
Lester del Rey told me repeatedly that the first and most important part of writing fiction is just to think about the story. Don't write anything down. Don't try to pull anything together right away. Just dream for a while and see what happens. There isn't any timetable involved, no measuring stick for how long it ought to take. For each book, it is different. But that period of thinking, of reflection, is crucial to how successful your story will turn out to be.
When historians get to write the truth about this completely unnecessary referendum [Brexit] they won't say it was a vote demanded by the British people to decide their national destiny. They will say it was the final battle in a decades-long Tory Civil War, at the heart of which was a fight to the death between two Old Etonians, David Cameron and Boris Johnson, for the hollow crown. A sort of Eton Wall Game. Where the poorest are put up against the wall and shot.
Almost all good writing begins with terrible first efforts. You need to start somewhere. Start by getting something-anything-down on paper. A friend of mine says that the first draft is the down draft-you just get it down. The second draft is the up draft-you fix it up. You try to say what you have to say more accurately. And the third draft is the dental draft, where you check every tooth, to see if it's loose or cramped or decayed, or even, God help us, healthy.
Writing two stories [in the Thorn and the Blossom] about the same set of events that were complete stories in themselves, but also added up to a larger story. As I was writing them, I kept going back and forth, because something would happen in one story that would have to be reflected in the other story. And yet the same event would also have to be perceived in different ways by Brendan and Evelyn, because they are different people with their own interpretations.
After the bare requisites to living and reproducing, man wants most to leave some record of himself, a proof, perhaps, that he has really existed. He leaves his proof on wood, on stone or on the lives of other people. This deep desire exists in everyone, from the boy who writes dirty words in a public toilet to the Buddha who etches his image in the race mind. Life is so unreal. I think that we seriously doubt that we exist and go about trying to prove that we do.
What you do in the present—by painting, preaching, singing, sewing, praying, teaching, building hospitals, digging wells, campaigning for justice, writing poems, caring for the needy, loving your neighbor as yourself—will last into God’s future. These activities are not simply ways of making the present life a little less beastly, a little more bearable, until the day when we leave it behind altogether. They are part of what we may call building for God’s kingdom.
It is to be remembered that all art is magical in origin - music, sculpture, writing, painting - and by magical I mean intended to produce very definite results. Paintings were originally formulae to make what is painted happen. Art is not an end in itself, any more than Einstein's matter-into-energy formulae is an end in itself. Like all formulae, art was originally FUNCTIONAL, intended to make things happen, the way an atom bomb happens from Einstein's formulae.
I studied physics at Princeton when I was a college student, and my initial intention was to major in it but to also be a writer. What I discovered, because it was a very high-powered physics program with its own fusion reactor, was that to keep up with my fellow students in that program I would need to dedicate myself to math and physics all the time and let writing go. And I couldn't let writing go, so I let physics go and became a science fan and a storyteller.
It's to a writer's advantage to contain within himself elements of each sex, or any sex. It's to his advantage because it makes him able to write from the female point of view as well as the male. In some cases, of course, you will find some homosexual writers who can only write from a f - - -'s point of view. But I don't regard myself as a f - - -! Some people may. Also audiences wanted escapism. They don't like too much protest or criticism of their way of life.
Thoughts are created in the act of writing. [It is a myth that] you must have something to say in order to write. Reality: You often need to write in order to have anything to say. Thought comes with writing, and writing may never come if it is postponed until we are satisfied that we have something to say...The assertion of write first, see what you had to say later applies to all manifestations of written language, to letters...as well as to diaries and journals
We need to make sure that every child in America goes to a school every day that is safe, will teach them how to read and write, do arithmetic and gain the computer skills necessary to allow them to compete in the global marketplace. If we can get that through the public schools, fine. If we can't, I'm all for parental choice in education to allow that parent to take his/her/their child to a school that is safe and teaches them, even if it is a faith-based school!
The silliest and most tendentious of baseball writing tries to wrest profundity from the spectacle of grown men hitting a ball with a stick by suggesting linkages between the sport and deep issues of morality, parenthood, history, lost innocence, gentleness, and so on, seemingly ad infinitum . (The effort reeks of silliness because baseball is profound all by itself and needs no excuses; people who don't know this are not fans and are therefore unreachable anyway.
Why do so many ingenious theorists give fresh reasons every year for the decline of letter writing, and why do they assume, in derision of suffering humanity, that it has declined? They lament the lack of leisure, the lack of sentiment ... They talk of telegrams, and telephones, and postal cards, as if any discovery of science, any device of civilization, could eradicate from the human heart that passion for self-expression which is the impelling force of letters.
We all just meet up and someone's house or the studio and we'll just jam and we'll lock into something that sounds cool. I'll go home with tracks of cool parts and work on words. Everyone in the band has a job to do and everyone knows their job and we all do it really well. So, when we're writing, we can just look at one another and say, 'OK, go write this part'. It's not just one person writing or producing everything - everyone's working to product what we have.
Now, it is very necessary that we should not flinch from seeing what is vile and debasing. There is filth on the floor, and it must be scraped up with the muck rake; and there are times and places where this service is the most needed of all the services that can be performed. But the man who never does anything else, who never thinks or speaks or writes, save of his feats with the muck rake, speedily becomes, not a help but one of the most potent forces for evil.
Writing a book about [Buckminster Fuller] in the sense of deciding how much to - how much biographically to gloss over and how much I can leave out is relatively easy as it is because the true believers already know everything. They know a lot of things that are not true and they know a lot of things that I thought were (and seems there's very good evidence not to believe) and therefore, my starting point was I think to tell his myth because that's what grabbed me.
Every child is simple, just a clean slate. Then the parents start writing on his slate - what he has to become. Then the teachers, the priests, the leaders - they all go on emphasizing that you have to become somebody; otherwise, you have wasted your life. Just the opposite is the case. You are a being. You need not become anybody else. That is the meaning of simplicity: remaining at ease with one's being, and not going on any track of becoming - which is unending.
I feel like every movie has been wish fulfillment. For The Heat, I love Lethal Weapon. I watch it over and over again. I always wanted a friend like that; I always wanted to be the badass taking down the drug dealers. It was basically just writing what I wished I could be. Female friendship is so interesting to me. I often feel like when you make female friends as adults, it's polite. I wish it was less polite and you could be frank and mess around with each other.
It's been reinforced to me, and it's a little cliche, but I've learned that you can't make a movie that even works, much less that's good, without really good writing and really good acting. That lesson has led me to not be distracted, so much, by the other stuff going on in filmmaking and to focus on the essence of a story, and the words and the events and the way that those are interpreted by the actors. That philosophy has taken me to a place that I really like.
Yeah, for me there are other challenges that aren't musical too. Like you just don't have as many people to feed off of energy wise, you are loading in and out and you are driving yourself more. Most of the challenges that count are the musical ones. I don't know why people come out to the shows, but I never think that it is to hear me play the guitar and sing. I think it must be in the writing and the presentation, which are the areas that I feel most comfortable.
I require silence to write the way an apple tree requires winter to make fruit. Being with people is intimate and joyous, but at some point, I'll wander off by myself. The paradox is that what began in childhood as an act of necessary solitude has led me straight to a life with others, in which I fly to China or Lithuania or northern Minnesota to read my poems and talk with other people who love language made into a lathe on which a life can be tuned and be turned.
[A] couple I had known - who were old friends - asked me what I was going to work on next. I told them I wanted to write a near future book about AIDS concentration camps. They were vehement in their response: they thought it was a terrible idea. Their words both shocked and saddened me. "Do you really want to write a book about homosexuals?" they asked me. "Won't people who read your work be influenced toward sin?" I notice that I don't hear from them much lately.
Yes?’ he asked, looking at me over the sheet. ‘I’m a writer temporarily down on my inspirations.’ ‘Oh, a writer, eh?’ ‘Yes.’ ‘Are you sure?’ ‘No, I’m not.’ ‘What do you write?’ ‘Short stories mostly. And I’m halfway through a novel.’ ‘A novel, eh?’ ‘Yes.’ ‘What’s the name of it?’ ‘”The Leaky Faucet of My Doom.”‘ ‘Oh, I like that. What’s it about?’ ‘Everything.’ ‘Everything? You mean, for instance, it’s about cancer?’ ‘Yes.’ ‘How about my wife?’ ‘She’s in there too.