Quotes of All Topics . Occasions . Authors
As far as what I do, my value as a writer is certainly not to try to recapitulate a 19th century form. Certain styles of narrative don't conform to my style of experiencing the world.
There is nothing more worrisome to ISIS than cooperation between 'the West' and the Muslim world, for it defies the narrative of a clash of civilisations the group is trying to revive.
One of the reasons that politics lets us down is that we keep comparing it to our ideal narratives, to politics on TV or in the movies, which is tidier and better fits such structures.
The simple truth is that every veteran has his or her own unique story, and there's no single narrative about the issue of veterans finding civilian employment. And no single solution.
It is the province of poetry to be more realistic and present than the artificial narratives of an outer discourse, and not afraid of the truthful difficulty of the average human life.
The power of the documentary film, when done well, I think is usually more impacting than a narrative, at least for me. Documentaries are also cheaper, they are more accessible to make.
I suffer from and enjoy an incredibly vivid dream life. A lot of times there is a sort of narrative, and other times they are just funhouses of non-linear imagery and other scary stuff.
I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.
One of the most unsettling things about 'Monologue' is its long silences, in which the man sits alone, staring into the middle distance, without grip of his narrative, lost to the past.
Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is about causality that we don't immediately understand.
VCs are used to being the gatekeepers of capital. There's this old narrative of entrepreneurs going hat in hand begging VCs for money. That absolutely is not the world we're in anymore.
The unsaid is a powerful tool. It invites the reader into the narrative, filling in gaps, interpreting silences and half-finished sentences, and seeing the hidden fear in someone's eye.
Films like 'Velvet Goldmine' are an accumulation of research and references. I create an almost random resource of connections and am constantly distilling that into narrative specifics.
The most serious problem doing biography is the matter of time because you have to shape events into a narrative of two hours; you have to create a dramatic arc. That can be a challenge.
As people construct a life narrative, researchers have found, they tend to remember more events from the teens and twenties than from any other time. It's called the 'reminiscence bump.'
My first narrative films developed out of a documentary process - finding someone who was willing to be filmed, watching, listening, taking copious notes and many hours of video footage.
I guess maybe I try to make movies that are closer to real life than are many Hollywood movies. But I still try to stay within a commercial narrative, a contemporary American vernacular.
Directing music videos, especially ones that are concept/narrative driven is challenging in itself, but Directing a music video within a digital video environment is even more difficult.
I tell my students that the single most powerful thing that we have in this country - something that literally harbors no dissent and no questioning - is the all-powerful elite narrative.
I don't just want my books to be about the '30s and '40s. I want them to read as if they had been written then. I think of them as '40s novels, written in the conservative narrative past.
Storytelling is storytelling. You still play by the same narrative rules. The technology is completely different. I don't use one piece of technology that I used when I started directing.
It has always been something I could do, and it may seem odd that in my case I seem to create an interesting narrative and frustrate the reader's opportunities to follow it at every step.
Poetic language is singularly appropriate for recounting the life of the king who is traditionally accepted as the author of the poetic psalms, some of which are included in the narrative.
Our response to the world is essentially one of wonder, of confronting the mysterious with a sense, not of being small, or insignificant, but of being part of a rich and complex narrative.
A denial of the reality of demonical possessions on the part of anyone who believes the Gospel narrative to be true and inspired may justly be regarded as simply and plainly inconceivable.
The phantasmagoria, the actual experience that we try to understand and organize through narrative, varies from place to place. No single narrative serves the needs of everyone everywhere.
I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare's sonnets.
I really admire the experimentalists who challenge traditional narrative - writers like Ishmael Reed, Michael Martone, Donald Barthelme, Tatyana Tolstaya, George Saunders, and many others.
There's this narrative that is entrenched in some of the professions that there's this mysterious thing called 'socioeconomic status' that is immutably correlated with health. And it isn't.
When I wrote The Virgin Suicides, I gave myself very strict rules about the narrative voice: the boys would only be able to report what they had seen or found or what had been told to them.
One of the more interesting challenges I face when doing research for my novels is to trace the lives of women who are vital to the narrative and try my best to give them back their voices.
Generally speaking, we as black people have been celebrated more for when we are subservient when we are not being leaders or kings or in the center of our own narrative driving it forward.
When folks say 'identity politics' don't matter, it simply reinforces the norm of a white, middle-class, cis narrative and further marginalizes the rest of us who don't share that identity.
Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.
'Jekyll and Hyde' I read in high school. I was expecting a Hollywood-type horror story and couldn't believe it when I got this very complex narrative from all these different points of view.
I was interested in the narrative of how we nurture our elite in this society: all that stuff about believing in yourself and not accepting second best. Our inner world is at odds with that.
If you're a photographer, you end up being the raw creative force that allows other people to see what kind of narrative you want to be giving or what kind of art that you want people to see.
I think if I had been writing fiction, where the work is entirely dependent on the writer's creativity and the potential directions the narrative might take are infinite, I might have frozen.
It's hard, because when you talk about process or your characters ruling your narrative, it sounds like you have no control, but obviously you're ultimately the author, so you do have control.
For long, history was mainly political history, and historical narrative was confined to an account of the most important crises in political life, or to an account of wars and great generals.
You run the risk, whenever you build your story around a central mystery, of either letting it go too long, or revealing it too soon and then taking the wind out of the sails of the narrative.
Referring to ISIL as a destructive religious cult rather than a legitimate theo-political 'radical Islamic' group is not just more accurate, it also exposes ISIL's corrupt religious narrative.
Marie Houzelle is a master of the first-person narrative. In Tita she has created a strange, utterly original child whose deadpan certainties are a beguiling invitation to readers of all ages.
Most of my work has no conventional narrative, so it's not essential to have a beginning and an end - your attention can flow in and out of the experience rather than having a set entry point.
I think the narrative of people being caught between two cultures as immigrants is very harmful. It's exclusionary. It essentially tries to argue that some Americans are more real than others.
We like long-form narrative journalism, and we feel there aren't enough high-profile outlets in Canada running the kind of stories we want to showcase - long, meaty, thoughtful, investigative.
The world for our law enforcement community has changed dramatically: everything from filling out paperwork to relationships with the community and how they think the narrative is in the media.
I am fairly optimistic about the disillusionment that produces homogeneity in general. The films that succeed in [theaters] are fairly homogeneous in terms of narrative and vision of the world.
It's hard to live in a blind and aimless - or dishonest, rather - narrative when somebody in your family is going farther toward - or at least think they are and say they are - their true self.
It makes more sense to write one big book - a novel or nonfiction narrative - than to write many stories or essays. Into a long, ambitious project you can fit or pour all you possess and learn.