Quotes of All Topics . Occasions . Authors
Writing itself, if not misunderstood and abused, becomes a way of empowering the writing self. It converts anger and disappointment into deliberate and durable aggression, the writer's main source of energy. It converts sorrow and self-pity into empathy, the writer's main means of relating to otherness. Similarly, his wounded innocence turns into irony, his silliness into wit, his guilt into judgment, his oddness into originality, his perverseness into his stinger.
The Treatise of the Three Impostors is a book that enjoyed centuries of notorious nonexistence until (as Voltaire would say) it became necessary to invent it. Georges Minois writes with empathy, erudition, and a novelist's sense of buildup and timing, weaving in the parallel story of Europe's courageous freethinkers. In the face of today's social and even legal pressures against criticizing religion, it is good to see an honorable French tradition asserting itself.
Writing is an act of hope. It means carving order out of chaos, of challenging one's own beliefs and assumptions, of facing the world with eyes and heart wide open. Through writing we declare a personal identity amid faceless anonymity. We find purpose and beauty and meaning even when the rational mind argues that none of these exist. Writing therefore, is also an act of courage. How much easier is it to lead an unexamined life than to confront yourself on the page?
The act of writing bears something in common with the act of love. The writer, at his most productive moments, just flows. He gives of that which is uniquely himself. He makes himself naked, recording his nakedness in the written word. Herein lies some of the terror which frequently freezes a writer, preventing him from producing. Herein, too, lies some of the courage that must be entailed in letting others learn how one has experienced or is experiencing the world.
The present era grabs everything that was ever written in order to transform it into films, TV programs; or cartoons. What is essential in a novel is precisely what can only be expressed in a novel, and so every adaptation contains nothing but the non-essential. If a person is still crazy enough to write novels nowadays and wants to protect them, he has to write them in such a way that they cannot be adapted, in other words, in such a way that they cannot be retold.
While I was writing my book, I got a top police official in Bombay an invitation to study terrorism at the Rand Institute in Washington DC. This would have helped the city enormously, as he was the detective who cracked the '93 blasts case. But the commissioner declined to let his subordinate take up the offer from Rand, because of his fear that it was CIA-affiliated. That culture of suspicion needs to change; India needs to learn how other democracies fight terror.
So to the wretched writer I should like to say that there’s one body only whose request for your caresses is not vulgar, is not unchaste, untoward, or impolite: the body of your work itself; for you must remember that your attentions will not merely celebrate a beauty but create one; that yours is love that brings it own birth with it, just as Plato has declared, and that you should therefore give up the blue things of this world in favor of the words which say them
I think the possibilities are endless in terms of what the genre would be like. However, in terms of looking for sources of money, I think we have to be very careful not to fall into Hollywood's commodification of Chicano culture. We could look at the example of Piri Thomas, a successful Puerto Rican writer now living in the Bay Area, who has received repeated offers from Hollywood...and he said he's not going to write about his people doing drugs and going to jail.
What is Camille Paglia doing, writing that an actress as gifted as Anne Heche has the mental depth of a pancake? How many pancake brains could do what Heche did with David Mamet's dialogue in Wag the Dog? No doubt Heche has been stuck with a few bad gigs, but Paglia, of all people, must be well aware that being an actress is not the same safe ride as being the tenured university professor of humanities and media studies at the University of the Arts in Philadelphia.
Would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss waiter talks, and that when I split an infinitive, God damn it, I split it so it will stay split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of bar-room vernacular, that is done with the eyes wide open and the mind relaxed but attentive.
I have ALWAYS wanted to write - I was the seven-year old entering local library poetry contests, and I recently found my eighth-grade yearbook when we moved, and I had listed "WRITER" as my future occupation. It's always been something I've been hungry to do, but I think the more practical side of me (encouraged by the more practical sides of my parents of course) shied away from pursuing a career in creative writing, in favor of something a little "safer" like law.
Consultation and compliance can conduce little to the perfection of any literary performance; for whoever is so doubtful of his own abilities as to encourage the remarks of others, will find himself every day embarrassed with new difficulties, and will harass his mind, in vain, with the hopeless labour of uniting heterogeneous ideas, digesting independent hints, and collecting into one point the several rays of borrowed light, emitted often with contrary directions.
What is literature, and why do I try to write about it? I don’t know. Likewise, I don’t know why I go on living, most of the time. But this not knowing is precisely what I want to preserve. As readers, the closest way we can engage with a literary work is to protect its indeterminacy; to return ourselves and it to a place that precludes complete recognition. Really, when I’m reading, all I want is to stand amazed in front of an unknown object at odds with the world.
I write like anyone involved with a family and a full time job: in stolen moments. I've had to adapt because I have so little writing time, so I write while dinner bubbles on the stove, and get away to cafes when I can. It is good to have a small laptop to haul around. I wish I could admit to bizarre writing habits, you know, like "I can only write in the presence of my favorite pet elephant, who is my fount of inspiration," but the truth, alas, is far more mundane.
I don't understand why anyone would collect my work. Please understand... it's like writing Our House. It took me an hour, it was 30 years ago, get over it! But people say, No, no, it changed my life, and I don't understand that. I can't take that seriously as a producer of what I consider to be art. If they want to collect it, fantastic. If you see what I saw when I took it and it means something to you, then by all means collect it. If I make some money, um, fine.
He was all emotion all the time, constantly talking about his feelings and his profound love for her. He was minutes from getting his first period. He wrote poems too. It's my personal belief that if men are writing poems, they're making up for something else like a big hair back, or one ball. Not that one ball is a bad thing. Especially since I don't know any females who are dying to their their hands on a set of balls. The way I see it, the less balls, the better.
According to how gifted we are, we are all given a large or small key to this treasury of wonders. I have been blessed with a small key to the world of the young. It's a place where good and evil are clearly stamped. It's a place where the better part of human nature triumphs over tragedies, and where innocence rides high. It is a great pleasure to write there, because the young have what the rest of us only envy, and that is a belief in goodness and perpetual hope.
Sometimes when I'm writing I'll play Cole Porter, just because the rhythms and the lyrics are so perfect that it's like having a smart partner in the room. I have a huge collection of music that I listen to when I'm writing, and I also prepare a lot of music before I start directing. I put it all onto an iPod that I have with me on the set. It's helpful to the actors, because for an emotional scene, I'll play it and say, this is how it feels, to keep us in the zone.
Throw away my book: you must understand that it represents only one of a thousand attitudes. You must find your own. If someone else could have done something as well as you, don’t do it. If someone else could have said something as well as you, don’t say it—or written something as well as you, don’t write it. Grow fond only of that which you can find nowhere but in yourself, and create out of yourself, impatiently or patiently, ah! that most irreplaceable of beings.
I think I became a better writer after I started writing for the New Yorker. Well, I know I did. And part of it was having my New Yorker editor and part of it is that was when I started really going on tour and reading things in front of an audience 30 times and then going back in the room and rewriting it and reading it and rewriting it. So you really get the rhythm of the sentences down and you really get the flow down and you get rid of stuff that's not important.
In the beginning, I want to say something about human greatness. Some time ago, I was reading texts of Kungtse. When I read these texts, I understood something about human greatness. What I understood from his writings was: What is greatest in human beings is what makes them equal to everybody else. Everything else that deviates higher or lower from what is common to all human beings makes us less. If we know this, we can develop a deep respect for every human being.
I don't know where to start," one [writing student] will wail. Start with your childhood, I tell them. Plug your nose and jump in, and write down all your memories as truthfully as you can. Flannery O' Connor said that anyone who has survived childhood has enough material to write for the rest of his or her life. Maybe your childhood was grim and horrible, but grim and horrible is Okay if it is well done. Don't worry about doing it well yet, though. Just get it down.
The question of identity has always been a murky issue in my own life and my writing bounces that right back. My father was adamant that my sisters and I were "Arab," and even though our house was in Syracuse, it was filled with the food, language, music, and overbearing relatives of Jordan. Unlike my gorgeous sisters, though, I inherited my mother's lighter complexion - it really is amazing what a difference a little bit of pigment can make on a person's experience!
My writing isn't actually guided by issues. I know it seems that way, but I don't sit down and think, Oh, there's this issue I'm bothered about. I only write about things that directly impact my life. When I write, there's a pain that I have to reach, and a release I have to work toward for myself. So it's really a question of the particular emotional circumstance that I want to express, a character that appears, a moment in time, and then I write the play backwards.
Work ethic is one of the biggest things my father taught me. That man worked like every day, every day, 9 to 5, well 9 to 9 in his case, but he would treat it as if it was a 9 to 5 job. He would clock in. He would put in his hours. That is how you can write those you know incredibly long books that unfortunately there is not much market for anymore, but that is also how you can explore an idea on a deeper level than we get in our media surface these days. It's tough.
Something peculiar has happened. As I write, none of the Republican candidates for Senate has become a public embarrassment. On the contrary: For the first time in a decade, it is the Democratic candidates, not the Republican ones, who are fodder for late-night comics. That the Democrats are committing gaffes and causing scandals at a higher rate than Republicans not only may be decisive in the battle for the Senate. It could signal a change in our politics at large.
Deep within the individual is a vast reservoir of untapped power awaiting to be used. no person can have the use of all this potential until he learns to know his or her own self. the trouble with many people is that they got through life thinking and writing themselves off as ordinary commonplace persons. having no proper belief in themselves they live aimless and erratic lives largely because they never realize what their lives really can be or what they can become
I've only had a sit-down encounter with Robert once, and that one conversation was the best advice that I have gotten from any individual in the music industry. R Kelly told me that as long as I write life and not music I will always have a job. He listened to several of my records and told me that they were great records and for that to come from a man who has produced hit after hit gave me a comfort and reassurance that making honest and good music was not in vain.
Writers are much better behaved nowadays, for a couple of reasons. Once upon a time nobody was thinking of a career, unless you lived in New York, so there wasn't as much pressure to present a respectable exterior. And secondly, there was no social media. So if you were found face down on the floor - people did do that quite a bit; usually men, but not always - or fell through plate glass windows or got into scrapes, it became a rumor, and rumors are hard to pin down.
I am stealing the golden vessels of the Egyptians to build a tabernacle to my God from them, far far away from the boundaries of Egypt. If you forgive me, I shall rejoice; if you are enraged with me, I shall bear it. See, I cast the die, and I write the book. Whether it is to be read by the people of the present or of the future makes no difference: let it await its reader for a hundred years, if God himself has stood ready for six thousand years for one to study him.
We are all refugees from our childhoods. And so we turn, among other things, to stories. To write a story, to read a story, is to be a refugee from the state of refugees. Writers and readers seek a solution to the problem that time passes, that those who have gone are gone and those who will go, which is to say every one of us, will go. For there was a moment when anything was possible. And there will be a moment when nothing is possible. But in between we can create.
When you write your first novel you don't really know what you're doing. There may be writers out there who are brilliant, incisive and in control from their first 'Once upon a time'. I'm not one of them. Every once upon a time for me is another experience of white-water rafting in a leaky inner tube. And I have this theory that while the Story Council has its faults, it does have some idea that if books are going to get written, authors have to be able to write them.
To me, writing is a very physical process. I lay out the entire book with the two narratives side by side on my bedroom floor, and just get down on my hands and knees and start looking at it in that physical space. "Does this really follow from this? Should this be here or elsewhere?" I will literally cut the paper into paragraphs. I'll cut it into segments and move the segments around from one narrative to the other until I feel that I've found the natural structure.
Most really good fiction is compelled into being. It comes from a kind of uncalculated innocence. You need not have your ending in mind before you commence. Indeed, you need not be certain of exactly what's going to transpire on page 2. If you know the whole story in advance, your novel is probably dead before you begin it. Give it some room to breathe, to change direction, to surprise you. Writing a novel is not so much a project as a journey, a voyage, an adventure.
You can’t learn to write in college. It’s a very bad place for writers because the teachers always think they know more than you do—and they don’t. They have prejudices. They may like Henry James, but what if you don’t want to write like Henry James? They may like John Irving, for instance, who’s the bore of all time. A lot of the people whose work they’ve taught in the schools for the last thirty years, I can’t understand why people read them and why they are taught.
[About Swami Vivekanada:] I am not saying that the message of the Swami was the final word in our nationalism... But it was tremendous - something with an undying glory of its own. If you read his books, if you read his lectures, you are struck at once with his love of humanity, his patriotism, not abstract patriotism which came to us from Europe but of different nature altogether a more living thing, something which we feel within ourselves when we read his writings.
I write less about alcohol, less and less and less. You 're an addict - so of course you write about the thing you love most. I loved alcohol the most, loved it more than anybody or anything. That's what I wrote about. And it certainly accounted for some great writing. But it accounted for two or three years of good writing - it would never account for 20 years of good writing. I would have turned into Charles Bukowski. He wrote 10,000 poems and 10 of them were great.
The preliminaries were out of the way, the creative process was about to begin. The creative process, that mystic life force, that splurge out of which has come the Venus de Milo, the Mona Lisa, the Fantasie Impromptu, the Bayeux tapestries, Romeo and Juliet, the windows of Chartres Cathedral, Paradise Lost - and a pulp murder story by Dan Moody. The process is the same in all; if the results are a little uneven, that doesn't invalidate the basic similarity of origin.
Good genre movies are a little bit like trying to write a haiku. There are certain things that you have to do to fulfill the audience's expectations, but inside that, you have complete freedom to talk about whatever you want. Who wants to see a movie about gun violence in America and class? But, if you set it in this terrifying, fun, roller coaster ride of a movie, you can talk about whatever you want. That's been the game that genre movies play, when they do it well.
I've been fortunate in that the films I've worked on in the horror genre are themselves not pure horror, and have allowed me to write in a wide variety of styles. Those scores contain elements of fantasy, drama, action, comedy... really all types of scoring, and that gives the horror moments more impact. As for scoring the horror moments, I do like approaching the music from the psychological aspect, scoring to the characters' thoughts, emotions, motivations and such.
Over the next four days, I want you to write about your deepest emotions and thoughts about the most upsetting experience in your life. Really let go and explore your feelings and thoughts about it. In your writing, you might tie this experience to your childhood, your relationship with your parents, people you have loved or love now or even your career. How is this experience related to who you would like to become, who you have been in the past, or who you are now?.
There probably aren't a lot of new superheroes around, so whenever one appears, it makes a bit of noise. Really, most of the people who are my friends write characters they loved as children. I get that, as well, because that's why I got into comics. But I'm also taking this massive liberation creatively, going off and doing new stuff. The first and foremost reason I do it is because I think they're fun, and I can do anything I want. I'm not constrained by continuity.
I've never translated more than one book by any author. But I'm fascinated by translators who have, like Richard Zenith, who's translated so much of Fernando Pessoa's work. I get restless for a new kind of influence. The books I've translated are books I want to learn from as a writer, to be intoxicated by. And translation is an act of writing in itself. It's an act of recreation - of a writer's cadence and tone and everything that distinguishes the voice in the book.
I remember looking at my dad and wanting to understand him. I didn't want to just write the guy off. He was lost. I can't speak specifically in terms of why and how he got to where he was - that was his journey. All I can tell you is, he was overwhelmed by life... My mother basically did all the work, and then they got separated and I didn't see him for a long time. He didn't try to help the family financially or spiritually, and I lived with the effects of the chaos.
I wish those people who write so glibly about this being a holy war and the orators who talk so much about going on, no matter how long the war lasts and what it may mean, could see a case of musterd gas - the poor things burnt and blistered all over with great musterd coloured suppurating blisters, with blind eyes, all sticky and stuck together, and always fighting for breath, with voices a mere whisper, saying their throats are closing and they know they will choke.
Writing, therefore, is also an act of courage. How much easier is it to lead an unexamined life than to confront yourself on the page? How much easier is it to surrended to materialism or cynicism or to a hundred other ways of life that are, in fact, ways to hide from life and from our fears. When we write, we resist the facile seduction of theses simpler roads. We insist on finding out and declaring the truths that we find, and we dare to out those truths on the page.
I don't want to do only movies that I'm in. I definitely want to start to branch out and do TV and stuff that I'm not in and really make a good run at it as a production. I'm probably going to take a break from acting after a little while because I've enjoyed the developmental process so much. It helps you as an actor to learn story and to learn how to really nurture a script and work with a writer so you're not sitting there having to write it yourself and give notes.
I find it very difficult not to write in any sort of Sudanese style. With Sudanese music, there are very specific things that happen with the syncopation of the drums, melodies and stuff. And whenever I write, that's always the first thing that comes out, because I grew up listening to it. It's a part of me, so I try to bring that out in the music. I think that you have to be honest with what you do, and that's the most honest thing that I can do, is to write that way.
I tried not to write about the O.J. Simpson case too much because so much has already been said about it, but there are a lot of questions left worth asking. However, the case is very useful to illustrate other points. The case is a common reference point because everybody knows the ins and outs of it, more than any other case in this generation, so it becomes useful to reference other points. In itself, there aren't that many questions about it that remain unanswered.
I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.