Zitat des Tages von David Shields:
I've always liked this idea that writing should comfort the afflicted, and afflict the comfortable to create trouble. The value of a work of art can be measured by the harm spoken of it. If you're not feeling that, then absolutely, why bother?
You could easily do a book of Marshawn Lynch's quotes, which have a quite serious political pushback. I think he's really amazing.
I disagree with everything John Updike has ever said.
The trajectory of nearly all technology follows this downward and widening path: by the time a regular person is able to create his own TV network, it doesn't matter anymore that I have or am on a network.
You don't think anyone who lives an ordinary life has plenty of trouble and torment to write about?
When it's between the covers of a book, content is perceived to have literary substance - or more so that it might otherwise.
I began as a fiction writer - I had written three novels in my 20s and 30s. But as my work has gravitated towards literary nonfiction, or lyric essay or poetic essay, whatever you want to call it, I'm constantly beating my head against the wall 'cause I'm teaching a genre that's no longer that exciting to me and that I'm no longer practicing.
I think the core of fans' relationship is one that vacillates schizophrenically and mercurially from reverence to resentment. Fans fetishize the players' athletic genius and both deify it and demonize it; witness the way awe turns into anger whenever a player holds out or flips off the offensive coordinator.
We're completely confused about the boundaries between fiction and non-fiction. To me, the moment you compose, you're fictionalising; the moment you remember, you're dreaming. It's ludicrous that we have to pretend that non-fiction has to be real in some absolute sense.
The American writer has his hands full, trying to understand and then describe and then make credible much of American reality.
We're all Vanilla Ice. Look at Girl Talk and Danger Mouse. Look at William Burroughs, whose cut-up books antedate hip hop sampling by decades. Shakespeare remixed passages of Holinshed's 'Chronicles' in 'Henry VI.' Tchaikovsky's '1812 Overture' embeds the French national anthem.
I want the reader to join me on an intellectual and emotional journey into some major aspect of existence.
Good poets borrow; great poets steal.
The ways in which I was obsessed with Gary Payton and Shawn Kemp 20 years ago is completely replicated by my daughters' and my crush on Marshawn Lynch and Richard Sherman now.
When I was studying at the Iowa Writers School, I read a sports writer, Ron Maly, from the Des Moines Register. He was a good sports writer. I became real interested in the contrast between Lute Olson, who was the coach of Iowa at the time, and Ron Maly.
Sports - especially the NBA - function as a place where American society pretends to discuss and pretends to solve questions and historical agonies that can't possibly be solved within the realm of sports.
Immanence, or complicity, allows the writer to be a kind of shock absorber of the culture: to reflect back its 'whatness,' refracted through the sensibility of his consciousness.
I used to feel that everything I know I learned through my lifelong struggle with stuttering; I now feel this way about my damn back.
Every writer from Montaigne to William S. Burroughs has pasted and cut from previous work. Every artist, whether it's Warhol or, you know, Dangermouse or whoever.
In the case of the Web, each of us has slightly more access to a mass audience - a few more people slide through the door - but Facebook is finally a crude, personal multimedia conglomerate machine, personal nation-state machine, reality-show machine. New gadgets alter social patterns, new media eclipse old ones, but the pyramid never goes away.
We hunger for connection to a larger community.
The difference between kitties and humans is that we are aware of our mortal condition, and the burden of consciousness is to evoke and embody and explore the coordinates of our condition.
Both of my parents were journalists, and my rebellion, such as it was, was to become a fiction writer.
Considering the relatively brief careers of professional athletes, teenagers who are good enough to play at the highest level should be able to exploit that market.
Your basic, well-made novel by Ian McEwan or Jonathan Franzen just bores me silly.
I went to graduate school in Iowa City, at the Iowa Writers' Workshop, where the most passionate thing I did was attend University of Iowa basketball games.
Art, like science, progresses, and to me it's bizarre that a lot of acclaimed and popular and respectable books are not advancing the art form.
Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art - underprocessed, underproduced - splinters and explodes.
I think of sports writers as mediating between two worlds. Athletes probably think of sports writers as not macho enough. And people in high culture probably think of sports writers as jocks or something. They are in an interestingly complex position in which they have to mediate the world of body and the world of words.
Aging followed by death is the price we pay for the immortality of our genes. You find this information soul-killing; I find it thrilling, liberating.
I want work that, possessing as thin a membrane as possible between life and art, foregrounds the question of how the writer solves being alive.
The novel is an artifact, which is why antiquarians cling to it so fervently.
You, Dad, in the large scheme of things, don't matter. I, Dad, don't matter. We're vectors on the grids of cellular life.
That's why people read books. You get to have the real conversation, as opposed to the pseudo-conversations we have in everyday life.
In the summer of 1956, my mother was pregnant with me, which caused my father to confess his fear that I was going to be too much of a burden for him because he had a history of depression.
It's true of so many fiction writers that I much prefer the essayistic work they did, whether it's David Foster Wallace's, or John Cheever's, or Nathaniel Hawthorne's.