Give me a bed and a book and I am happy.
Whole great chunks of written history are of little value to the psychohistorian, while other vast areas which have been much neglected by historians - childhood history, content analysis of historical imagery, and so on - suddenly expand from the periphery to the center of the psychohistorian's conceptual world, simply because his or her own new questions require material nowhere to be found in history books.
I can't single out one of my books or characters as a favorite. In the same way that I don't have a favorite kidney, my books are organically all part of myself. I might even say that put all together, the books are one ongoing, developing story - which, not coincidentally, happens to be my own lifestory.
Favorite books and authors while growing up - I'd need a book to list them all. For the sake of brevity: Shakespeare, Dickens, Mark Twain, Victor Hugo, world's mythology, the Arthurian legends. And the unabridged dictionary. And they're still my favorites. They get better each time I read them.
If writers learn more from their books than do readers, perhaps I may have begun to learn.
Books can truly change our lives: the lives of those who read them, the lives of those who write them. Readers and writers alike discover things they never knew about the world and about themselves.
I had self-doubt about whether my story was interesting to people. I didn't want to write something that was anecdotal. It was important to me that people would get something out of my book. I want people to read it and say, "Now I don't feel so alone," or "I'm going to remember that next time I'm being an asshole."
I had gone back home to finish my book in 2011, and that's when these laws really started coming into states all across the country. I needed to get back to Brooklyn, so I had my two dogs and I rented a van and I called up Planned Parenthood and I said, "I have to drive back to Brooklyn. I've got two dogs and a van. What if I did some fundraisers for you along the way?" And they were like, "Who are you?" I was like, "No, this is a super good idea."
I was only loosely aware of [Georgia] O'Keeffe's work. Primarily, I had seen her famous paintings of skulls with flowers, which are not my favorite. I didn't really become familiar with her work until after I started writing the book, but the more I learned about her the more I admired her.
Now I am as big of an [ Georgia] O'Keeffe admirer as Ivy [Wilkes] is, but that came through writing the book.
I did take one drawing class in school, but for this book I spent a lot of time talking to painters and asking them silly questions.
The book [The Dissemblers] officially came out two weeks after my thirtieth birthday...am I still young?
At the end, I cobbled scenes all together and smoothed out the transitions as much as possible. Incidentally, I would not recommend this approach to writing a book, and will probably not write that way again!
When I finished the book [The Dissemblers], I sent it to one billion agents, and got one billion rejections.
Writing a book set in New Mexico was partially a way to express my own love for the state, and partially a way to prudently follow the advice to write what you know.
At the beginning of the book [The Dissemblers], Ivy [Wilkes] has a long way to go in order to achieve self-sufficiency. Although she is very independent, even somewhat of a loner, she is very affected by other peoples' opinions. At the opening of the book, her ideas of success and achievement are largely defined by the approval of others; over the arc of the story, I think that begins to change a little.
[Writing] books is really fun because your "voice" is pretty undiluted. There is a very direct connection between yourself and your audience. You will have an editor, but their job is to help you clarify or improve your voice, not change it.
I think the Internet gives too much for a young artist to compare themselves too. I'm not sure that "notes" or "likes" are what we should be aspiring to, but the Internet means something different to me because I've always been primarily interested in publishing physical books.
The Summer Book is beautiful and warm, with the kind of wisdom we can adapt to our everyday lives.
Yeah, unfortunately [ films like Miss Julie are a dying breed]. And that is sad, because we need these. Like we need books, we need classical music, we need ballet, we need opera, to remind us really of who we are and why we are, and we need in movie houses - even to be in a movie - where you sit and see not only excitement and man-hero, woman-hero, you need quietly, just like that Hawking movie we talked about, to know how people overcome.
I had the advantage, that I know Swedish. So I had the Swedish book and I had a lot of English translations, and German translations, and I did everything to make the best English translation of August Strindberg's Miss Julie I could. And then, there I went. "Oh! I think she's thinking this, but I think she should say it!" And so on. It's wonderful to do that.
I just remember saying to myself that I'd much rather do movies than modeling, and that it was worth a try. I didn't really know anything about it. I hadn't seen many movies, or so-called, good movies. When I was a kid, I was obsessed with Star Wars and Night of the Living Dead. When I got more curious about the movies, I thought they were something you had to learn about and go to school for and read every book.
I don't like the vampire books. I don't like any of those.
I get letters from adults saying that they love the books because they are more in-depth with characterization than the comics. The luxury of writing a whole novel is you can really explore who the characters are.
When I did start writing books, I didn't realize it, but the girls that grew up watching the show became moms.
