„I have spent 20 years writing these books. Had I wanted to say men are beasts and scream, that takes 30 seconds.“

—  Andrea Rita Dworkin, Modern Times Interview of Andrea Dworkin With Larry Josephson, on "Modern Times" (American Public Radio, 1992) (radio program) (transcript of tape (end of tape missing)) http://www.andreadworkin.com/audio/moderntimes.html, as accessed Sep. 5, 2010.
Andrea Rita Dworkin photo
Andrea Rita Dworkin
saggista statunitense 1946 - 2005
Pubblicità

Citazioni simili

James Herriot photo
Richard Brautigan photo
Pubblicità
Clive Staples Lewis photo
Susan Cain photo
Amy Tan photo

„Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule. … To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.“

—  Amy Tan American novelist 1952
Context: I've long thought about how life is influenced by death, how it influences what you believe in and what you look for. Yes, I think I was pushed in a way to write this book by certain spirits — the yin people — in my life. They've always been there, I wouldn't say to help, but to kick me in the ass to write.... Yin people is the term Kwan uses, because "ghosts" is politically incorrect. People have such terrible assumptions about ghosts — you know, phantoms that haunt you, that make you scared, that turn the house upside down. Yin people are not in our living presence but are around, and kind of guide you to insights. Like in Las Vegas when the bells go off, telling you you've hit the jackpot. Yin people ring the bells, saying, "Pay attention." And you say, "Oh, I see now." Yet I'm a fairly skeptical person. I'm educated, I'm reasonably sane, and I know that this subject is fodder for ridicule.... To write the book, I had to put that aside. As with any book. I go through the anxiety, "What will people think of me for writing something like this?" But ultimately, I have to write what I have to write about, including the question of life continuing beyond our ordinary senses.

„Sometimes I answer that if I have something I want to say that is too difficult for adults to swallow, then I will write it in a book for children. This is usually good for a slightly startled laugh, but it's perfectly true.“

—  Madeleine L'Engle American writer 1918 - 2007
Context: "Why do you write for children?" My immediate response to this question is, "I don't."... If it's not good enough for adults, it's not good enough for children. If a book that is going to be marketed for children does not interest me, a grownup, then I am dishonoring the children for whom the book is intended, and I am dishonoring books. And words. Sometimes I answer that if I have something I want to say that is too difficult for adults to swallow, then I will write it in a book for children. This is usually good for a slightly startled laugh, but it's perfectly true. Children still haven't closed themselves off with fear of the unknown, fear of revolution, or the scramble for security. They are still familiar with the inborn vocabulary of myth. It was adults who thought that children would be afraid of the Dark Thing in Wrinkle, not children, who understand the need to see thingness, non-ness, and to fight it. Section 4.4 <!-- p. 198 - 199-->

Douglas Coupland photo
Robert Heller photo
Junot Díaz photo
Bernard Malamud photo

„I would write a book, or a short story, at least three times — once to understand it, the second time to improve the prose, and a third to compel it to say what it still must say.“

—  Bernard Malamud American author 1914 - 1986
Context: I have written almost all my life. My writing has drawn, out of a reluctant soul, a measure of astonishment at the nature of life. And the more I wrote well, the better I felt I had to write. In writing I had to say what had happened to me, yet present it as though it had been magically revealed. I began to write seriously when I had taught myself the discipline necessary to achieve what I wanted. When I touched that time, my words announced themselves to me. I have given my life to writing without regret, except when I consider what in my work I might have done better. I wanted my writing to be as good as it must be, and on the whole I think it is. I would write a book, or a short story, at least three times — once to understand it, the second time to improve the prose, and a third to compel it to say what it still must say. Somewhere I put it this way: first drafts are for learning what one's fiction wants him to say. Revision works with that knowledge to enlarge and enhance an idea, to re-form it. Revision is one of the exquisite pleasures of writing: The men and things of today are wont to lie fairer and truer in tomorrow's meadow, Henry Thoreau said. I don't regret the years I put into my work. Perhaps I regret the fact that I was not two men, one who could live a full life apart from writing; and one who lived in art, exploring all he had to experience and know how to make his work right; yet not regretting that he had put his life into the art of perfecting the work. Address at Bennington College (30 October 1984) as published in "Reflections of a Writer: Long Work, Short Life" in The New York Times (20 March 1988)

Mark Z. Danielewski photo
John Fante photo
George Orwell photo

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“