Top 158 Quotes & Sayings by David Shields

Explore popular quotes and sayings by an American author David Shields.
Last updated on December 21, 2024.
David Shields

David Shields is an American writer and filmmaker. He is the author of twenty-two books, including Reality Hunger and The Thing About Life Is That One Day You’ll Be Dead and the director of Lynch: A History. Shields’s fiction and nonfiction have appeared in the New York Times Magazine, Harper’s, Esquire, Yale Review, and dozens of other publications.

We like non-fiction because we live in fictitious times.
I'm trying to use myself and my own flawedness as a metaphor for general human experience. I'm trying to 'stand next to' a subject, whether it's Bobby Knight or Vince Carter, and use that subject to meditate on both him and me.
Every quality I despise in George Bush is a quality I despise in myself. He is my worst self realized. — © David Shields
Every quality I despise in George Bush is a quality I despise in myself. He is my worst self realized.
I am interested in work that jumps boundaries, and that makes trouble. Part of me is comfortable with that: with being a bit of a troublemaker.
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'm very fond of this phrase: 'Collage is not a refuge for the compositionally disabled.' If you put together the pieces in a really powerful way, I think you'll let a thousand discrepancies bloom.
In music, they're not endlessly rewriting Beethoven's 'Third Symphony;' in visual art, they aren't painting portraits of 16th-century royalty. Art moves forward.
I'm not super-polite or civil - I try to be civil, but I'm not into Seattle's niceties, and I'm not hugely wired into Seattle's natural beauty.
I like art with a visible string to the world.
Nothing really changes: the individual's ability to project his message or throw his weight around remains minuscule.
I worry that I am not really a person anymore: I'm more of just a writing machine. I wonder what that has done to either my life and or my art.
Collage is not a kitchen sink; it's not a refuge for the compositionally disabled.
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.
Flipping through the channels late at night, I'll come across 'The Longest Yard' and not be able to get up off the couch until Burt Reynolds has scored the winning touchdown.
From the first slave ship arriving in harbor, America stole and judged blacks. Black life that didn't fit into white logic was commercially exploited or lynched. — © David Shields
From the first slave ship arriving in harbor, America stole and judged blacks. Black life that didn't fit into white logic was commercially exploited or lynched.
Stoicism is of no use to me whatsoever. What I'm a big believer in is talking about everything until you're blue in the face.
The N.F.L.'s rule on underclassmen should be abolished, and the N.B.A. should be discouraged from adding an age limit.
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.
Our lives aren't prepackaged along narrative lines and, therefore, by its very nature, reality-based art - underprocessed, underproduced - splinters and explodes.
Take Jonathan Franzen's work: it's just old wine in new bottles. They say he's the Tolstoy of the digital age, but there can only be a Tolstoy of the Tolstoyan age.
During Ronald Reagan's administration, '60 Minutes' ran a segment about the difference between Reagan's rhetoric and Reagan's actions. The show thought it had produced a hard-hitting piece; Reagan's team called up '60 Minutes' to thank them for the 15-minute commercial.
That's why people read books. You get to have the real conversation, as opposed to the pseudo-conversations we have in everyday life.
We hunger for connection to a larger community.
Good poets borrow; great poets steal.
Reality isn't straightforward or easily accessible.
I believe in copyright, within limited precincts. But I also believe in fair use, public domain, and especially transformation.
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.
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.
I still see life entirely through its Darwinian prism. I keep trying to shake off the aftereffects of writing 'The Thing About Life Is That One Day You'll Be Dead', and I find I can't.
In the NBA, as in nowhere else in America, white people are utterly beholden to black people, and they're not about to let us off that easily. It's a kind of very mild payback for the last 500 years.
Honesty is the best policy; the only way out is deeper in: a candid confrontation with existence is dizzying, liberating.
If the bus driver is black, I thank him... when I get off at my spot, whereas I would never think of doing this if the driver were white.
The N.C.A.A. is a multibillion-dollar business built on the talents of players who are often unqualified for or uninterested in being students and who benefit materially from the system only if they are among the few who turn professional.
As a work gets more autobiographical, more intimate, more confessional, more embarrassing, it breaks into fragments.
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.
I do not think it feasible to examine the phenomenon of hatefulness without being hateful.
The American writer has his hands full, trying to understand and then describe and then make credible much of American reality.
In a way, it's taken me 25 years to acknowledge that I am from the West Coast. I was always sort of pretending I was bicoastal or that I really belonged on the East Coast.
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. — © David Shields
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.
Seattle is still more Caucasian than most medium-sized cities. The sort of psychosexual politics of white fandom in context of black athletes who are also both very rich and slightly angry is just, to me, bottomlessly fascinating.
The movie - any sports movie - becomes a praise song to life here on earth, to physical existence itself, beyond striving, beyond economic necessity.
Are black people conscious of how excruciatingly self-conscious white people have become in their every interaction with black people? Is this self-consciousness an improvement? Maybe not, because I'm thinking of people in categories rather than as people, which is a famously dangerous thing to do.
Sports movies are often very good at dramatizing the intersection of public and private realms: the body politic.
All art is theft.
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.
Our culture is obsessed with real events because we experience hardly any.
The novel is an artifact, which is why antiquarians cling to it so fervently.
The individual has now risen to the level of a mini-government or mini-corporation. Via YouTube and Twitter, each of us is our own mini-network.
Sports passion is deeply, infamously territorial: our city-state is better than your city-state because our city-state's team beat your city-state's team. My attachment to the Sonics is approximately the reverse of this.
The essential gesture of the contemporary novel is to get people to turn the page, to entertain them, and I hate that. I want a novel where the gesture is towards existential investigation on every page. That, to me, is thrilling.
My particular demigod is the Sonics point guard Gary Payton, who is one of the most notorious trash-talkers in the National Basketball Association. He's not really bad. He's only pretend bad - I know that - but he allows me to fantasize about being bad.
You could easily do a book of Marshawn Lynch's quotes, which have a quite serious political pushback. I think he's really amazing. — © David Shields
You could easily do a book of Marshawn Lynch's quotes, which have a quite serious political pushback. I think he's really amazing.
What I'm definitely against is the plodding, paint-by-numbers 19th-century-style novel that's still being written today. I just don't understand why you'd read or write that in 2011.
A major focus of 'Reality Hunger' is appropriation and plagiarism and what these terms mean. I can hardly treat the topic deeply without engaging in it. That would be like writing a book about lying and not being permitted to lie in it.
The ruling ethos of Seattle is forlorn apology for our animal impulses.
In many senses, creativity and 'plagiarism' are nearly indivisible.
I suspect the real reason the N.F.L. and N.B.A. don't want high schoolers and college underclassmen to play with their ball is that they don't want to jeopardize their relationship with National Collegiate Athletic Association, which serves as a sort of free minor league and unpaid promotional department for the pros.
I'm a sucker for sports movies.
A book makes claims of literary art.
Denied dancing and musical instruments, slaves expressed a hidden tradition of musicality and poetics by tongue and signal.
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