Quotes of All Topics . Occasions . Authors
With my own memoirs, they are truthful, and I write everything fully expecting to some day end up televised on Court TV, and I'm fully prepared to be challenged legally on it.
I teach at Duke, and I have students who are all of twenty who want to write memoirs, and you know it's all pretty interesting stuff, but a lot of them lack gravitas, you know.
I'm embarrassed to say this, but I shy away from memoirs. My feeling is always that I'm saving them for later, so I guess that means I'll reach a point when I read nothing else.
The memoirs that have come out of Africa are sometimes startlingly beautiful, often urgent, and essentially life-affirming, but they are all performances of courage and honesty.
I liked 'Brighton Beach Memoirs,' which I did with Neil Simon. I kind of was playing him, as Eugene Morris Jerome, and I played that a few times at the very beginning of my career.
I had worked for George Bush as a speechwriter, and I read a lot of White House memoirs. They all have two themes: 'It Wasn't My Fault' and 'It Would Have Been Much Worse if I Hadn't Been There.'
When I was younger, I read all the great food memoirs, by M.F.K. Fisher and Laurie Colwin and Julia Child and Nicolas Freeling and Ruth Reichl, and felt flooded with a sense of comfort and safety.
I make video art pieces, take photographs, and dabble in acting ever since my screen test for 'Memoirs of a Geisha' with Steven Spielberg. But music is my first love and always will be my priority.
I've been teaching classes on memoirs since 1986, and I've been reading them all my life, and I think that I would like to write a critical book that might have some of those how-to elements in it.
I put off writing the first Left Behind book for a year because I got invited to assist Billy Graham in his memoirs, and had we known what we were putting off for a year, we might not have put it off.
Many things embarrass me, but reading isn't one of them. I'm not ashamed of my slightly weird collection of prison memoirs. Nor the flaky meditation books. After all, I can pretend I never read those.
I rent a Jacobean-fronted hunting lodge in Hampshire from the National Trust and like to go there as much as possible. I've grown to love it so much, especially when writing my memoirs there at weekends.
Maybe the 'Million Little Pieces' of the world are so popular because no one ever writes memoirs about PTA chairwomen; what memoirists do, and often get in trouble for, is bring interesting lives to light.
Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.'
Memoirs are - memory is - rarely 100 percent accurate. Any autobiography is a construct, ballpark, even unnatural. Private diaries, too, can be unreliable - a detail that matters only if the diary is read.
You might think that religion was the one area in which professional jealousy would take a back seat. But no: ecclesiastical memoirs are as viperish as any, though their envy tends to cloak itself in piety.
I have more freedom when I write fiction, but my memoirs have had a much stronger impact on my readers. Somehow the 'message,' even if I am not even aware that there is one, is conveyed better in this form.
In the worst memoirs, you can feel the author justifying himself - forgiving himself - in every paragraph. In the best memoirs, the author is tougher on him- or herself than his or her readers will ever be.
What George W. Bush learned in his pre-presidential years - and what he omits in his new memoirs - was not how to lead a nation, but how, with sufficient toughness, to cheat the democratic system to get elected.
At times, the reader of World War II literature must think every American, from general to G.I., kept a war diary, later mined for memoirs of the conflict. Few diaries, however, were published in their own right.
I love all insider memoirs. It doesn't matter whether it's truck-drivers or doctors. I think everybody likes to go backstage, find out what people think and what they talk about and what specialised job they have.
I have been presented with roles with demand not just a physical ability but mental disciplines as well. 'Memoirs of a Geisha' was not so much about physical exertion... it was much more graceful and contained than that.
We were developing an innovative Personal Information Manager called Chandler but a couple years ago I took off from that to do a project writing down my memoirs essentially, reminiscing about the development of the Macintosh.
I read a handful of memoirs to get a sense of what the genre meant. I needed to learn the fundamentals of the craft. I had never written a word of narrative. What is a tense shift, what is point of view? I didn't know any of it.
I love memoirs and biographies, learning about other people's lives. Two of the ones that I loved so much were actually edited by the same person who edited my book, too. I loved 'Angela's Ashes.' I loved 'Glass Castle' so much.
I read contrived memoirs by presidential candidates. For every 'Dreams From My Father' - Barack Obama's honest, literary portrayal of his biracial upbringing - there were a dozen cautious, formulaic vanity projects by politicians.
Some people think memoirs should be held to a perfect journalistic standard. Some people don't. Obviously I don't. My goal was never to create or to write a perfect journalistic standard of my life. It was always to be as literature.
The American war-writing tradition is a proud one and booming in this era of the Global War on Terror - at least in the nonfiction realm. Hundreds of memoirs and press accounts from Iraq and Afghanistan have been published since 9/11.
The reader of these Memoirs will discover that I never had any fixed aim before my eyes, and that my system, if it can be called a system, has been to glide away unconcernedly on the stream of life, trusting to the wind wherever it led.
People think that because a novel's invented, it isn't true. Exactly the reverse is the case. Biography and memoirs can never be wholly true, since they cannot include every conceivable circumstance of what happened. The novel can do that.
If you read the memoirs of slave-owning families, you'd be hard pressed to find evidence of black people in the lives of the whites, even though for most of the time on the plantations black people outnumbered whites by a ratio of seven to one.
Chelsea Handler is a good friend of mine, and I always was inspired by the fact that she was taking her life and turning it into these ridiculous, raunchy memoirs. She really has a talent, and she's a great writer. I was inspired by her trajectory.
Why was there so much work-sharing in the 1930s? One reason is that government pushed for it. In his memoirs, President Herbert Hoover estimated that as many as two million workers avoided unemployment as a result of his efforts to promote work-sharing.
My memoirs were written, and a portion of them already in the hands of the publishers, when the startling news came which has thrilled all Europe and filled her inhabitants with horror - the assassination of Abraham Lincoln, President of the United States.
I've been approached many times to write all sorts of books about my past and my personal life. I get interest from people who want to do reality shows, and somebody just offered me a huge amount of money to write my spiritual memoirs. I'm just not interested.
When I'm dealing with the 18th century, as I do in 'The Firebird,' the difficulty isn't only finding what a woman did, it's finding her at all. Most of the sources I'm dealing with - letters and memoirs and written reports of the day - have been written by men.
You might say presidents are drafting the first chapter of their memoirs in these seventh-year State of the Union addresses. They're trying to get the public and the media to think about their presidencies in the way that they would like to have them thought of.
People really want to believe that there is no fiction. I think they find it much easier to imagine that novelists are writing memoirs, writing about their lives, because it's difficult to conceive that there's a great imaginary life in which you can participate.
Lena Dunham and Jenni Konner, who founded Lenny Books together, also happen to have exquisite reading tastes - from obscure small press poetry chapbook to dishy memoirs to literary novels - and so it's a real honor that they've chosen to announce their imprint with my stories.
What are you going to do with astronauts who first reach the surface of Mars and then turn around and rocket back home-ward? What are they going to do, write their memoirs? Would they go again? Having them repeat the voyage, in my view, is dim-witted. Why don't they stay there on Mars?
Jean Toomer is a phantom of the Harlem Renaissance. Pick up any general study of the literature written by Afro-Americans, and there is the name of Jean Toomer. In biographies and memoirs of Harlem Renaissance figures, his name is invoked as if he had been one of the sights along Lenox Avenue.
Writing the past is never a neutral act. Writing always asks the past to justify itself, to give its reasons... provided we can live with the reasons. What we want is a narrative, not a log; a tale, not a trial. This is why most people write memoirs using the conventions not of history, but of fiction.
How much energy is wasted in Italy in trying to write the novel that obeys all the rules. The energy might have been useful to provide us with more modest, more genuine things, that had less pretensions: short stories, memoirs, notes, testimonials, or at any rate, books that are open, without a preconceived plan.
Men's memoirs are about answers; women's memoirs are about questions. Most male authors want to look good in their memoirs and have a place in posterity, while most women know that posterity is what happens when you no longer care. Women want to connect with others here and now; they couldn't care less about legacy!
Among the fables that inspired the British Admiralty's cartographic assignments to Captain James Cook in the 1770s and Captain George Vancouver in the 1790s was a 1640 account under the name of Bartholomew de Fonte that appeared in a journal with the delightful title 'The Monthly Miscellany, or Memoirs for the Curious.'
I think writers of memoirs need to be respected for the bold decision they take to bare their lives open. That alone should be enough. The things I write about, if you notice, are sensitive issues for a lot of people. If I told you my age, they would get ideas. The next thing you know they'll be filing lawsuits against me.
When public figures write memoirs, there is always some indecision regarding how much they want to write of things as they were and how much they want to cut corners to avoid riling up others. I decided to write my memoirs exactly as they were, and I will not digress - not when things are ill at ease and not when they are comfortable.
When I was nine, the teacher asked us to write a piece about our village fete. He read mine in class. I was encouraged and continued. I even wanted to write my memoirs at the age of ten. At twelve I wrote poetry, mostly about friendship - 'Ode to Friendship.' Then my class wanted to make a film, and one little boy suggested that I write the script.