A Quote by Alison Hawthorne Deming

As writers, the world is not about individual expression entirely because we are producing works of literature and getting them out into the world. — © Alison Hawthorne Deming
As writers, the world is not about individual expression entirely because we are producing works of literature and getting them out into the world.
You could compile the worst book in the world entirely out of selected passages from the best writers in the world.
Science fiction isn't just thinking about the world out there. It's also thinking about how that world might be - a particularly important exercise for those who are oppressed, because if they're going to change the world we live in, they - and all of us - have to be able to think about a world that works differently.
Science fiction isn’t just thinking about the world out there. It’s also thinking about how that world might be—a particularly important exercise for those who are oppressed, because if they’re going to change the world we live in, they—and all of us—have to be able to think about a world that works differently.
In many parts of the world, including the Arab world, the Latin American world, and even parts of the Western world, there is a tradition of writers being quite engaged. Particularly in the Arab world you have had very, very strong traditions of literature and poetry and most of the writers have been deeply committed to the cause of the Arab nation.
Science isn't just about solving this or that puzzle. It's about understanding how the world works: the whole world from the vastness of the cosmos to the particularity of an individual human life. It's worth thinking about how all the different ways we have to talk about the world manage to fit together.
I feel for the first time in my life that I have really come to understand what the gospel actually is. It is about a Father who lost His kids and He simply wants them back...I look forward to the day when we will see sons and daughers in their full expression and freedom, rising up out of every nation of the world, exhibiting and expressing the person, nature and works of our Father and walking like Jesus in this broken world.
I want to write about people I love, and put them into a fictional world spun out of my own mind, not the world we actually have, because the world we actually have does not meet my standards. Okay, so I should revise my standards; I'm out of step. I should yield to reality. I have never yielded to reality. That's what SF is all about. If you wish to yield to reality, go read Philip Roth; read the New York literary establishment mainstream bestselling writers
The point about sales is relevant because it suggests there are cultures out there that are supporting and consuming, on a vast scale, challenging works of literature. Works of literature that in the United States would sell only a few thousand copies, if they managed to find a publisher at all. The success of these texts in Spain or Italy or wherever contributes to a kind of national conversation that we're perhaps not having here in the U.S.
Producing is a wonderful foil to being an actor: acting being largely about getting out of my head, being present, a little irresponsible, whilst producing is the polar opposite. You need other players to act; you can't act in a void, but producing is about making something out of nothing - conjuring a thought or an idea into reality.
There are reviews that are clearly wrong. Dr. Johnson's famous Life of Savage, he's clearly wrong about the value of Savage. But it's one of the great works in English literature. You can learn more about the artistic expression and what the poet does and how to write about art from that than any number of guys who are terrible writers, who have no original ideas, but who say yes, "Hamlet" is a wonderful play. It's a meaningless statement.
A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single.
I am one of the writers who wish to create serious works of literature which dissociate themselves from those novels which are mere reflections of the vast consumer cultures of Tokyo and the subcultures of the world at large.
I think one of the things the writers' festival does that is very good is that it brings writers from around the world and around the country and locally and puts them all in the one spot together, and that's what a lot of the world's great writers' festivals do.
The world's all full of thoughts about wars and space, and tragedies to the world. That's what writers are thinking about because that's what the world is thinking about.
..few writers like other writers' works. The only time they like them is when they are dead or if they have been for a long time. Writers only like to sniff their own turds. I am one of those. I don't even like to talk to writers, look at them or worse, listen to them. And the worst is to drink with them, they slobber all over themselves, really look piteous, look like they are searching for the wing of the mother. I'd rather think about death than about other writers. Far more pleasant.
Literature cannot develop between the categories "permitted"—"not permitted"—"this you can and that you can't." Literature that is not the air of its contemporary society, that dares not warn in time against threatening moral and social dangers, such literature does not deserve the name of literature; it is only a facade. Such literature loses the confidence of its own people, and its published works are used as waste paper instead of being read. -Letter to the Fourth National Congress of Soviet Writers
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