A Quote by Cathleen Schine

Michael Chabon has long moved easily between the playful, heartfelt realism of novels like 'The Mysteries of Pittsburgh' and 'Wonder Boys' and his playful, heartfelt, more fantastical novels like 'The Amazing Adventures of Kavalier & Clay' and 'The Yiddish Policemen's Union.'
The prejudice is still there, but it's breaking down. You have writers like Michael Chabon and The Yiddish Policemen's Union. He's a writer who's determined to break down genre barriers. He's done amazing things.
I abandoned my second novel completely. Writing 'Kavalier & Clay,' I had several moments of utter collapse. Same with 'The Yiddish Policemen's Union.'
I like to know the places I write about. I feel like it helps me ground the novel. My novels are 'realistic novels,' but they can also be fantastical, so it's nice to have a setting that grounds them a little bit.
All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.
When I first went to Pittsburgh, I had never been there before, and we hadn't even decided to shoot there yet. I just went to see the location of Michael Chabon's novel. Once there, I became aware that Pittsburgh is a "wonder boy," in the narrow sense of the term, just as the human characters are.
Our characters act silly, even totally ridiculous at times, and most of our jokes don't come out of pop cultural references. It seems like we're aiming at a child audience, but everyone can laugh at the basic human traits that are funny. It's playful, the humor is playful, the world is playful. You can kind of let go.
I'm trying to bring something new to the Tin Man. He may be the one without the heart, but he's the most heartfelt guy there. It's a more manly heartfelt, a 'don't feel sorry for me' - type of heartfelt. I don't want to say tougher, because that just sounds stupid. But the Tin Man is a man's man.
Poetry is very playful with language. I think all poetry, at its heart, is playful. It's doing unusual and playful things with the language, stirring it up. And prose is not doing that. Primarily it's not attempting to do that.
Look at Kate Moss, she's such an amazing representation of that peak '90s fashion of a slinky shimmery dress and choker. Fashion was playful in the '90s, and that's why I love music festivals as well. They have that playful essence.
Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
I thought, "If I could bring these characters [Wonder Boys] to life and lead the audience to react the same way I did, this could be a really special picture." Then I read Michael's [Chabon] novel and got even more enthusiastic about it.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
For a long time, since story collections look almost precisely like novels, I presumed that they were meant to be enjoyed in the same way as novels.
Playful arising is authorized by both risk and trust in the process and in oneself. To be truly playful and improvisational one must not look for results.
So the city [Pittsburgh] was faced with that question of "What to do now?" because it can't turn back the clock and be what it once was. So thematically, it seemed like the perfect location for the movie. And then, it's a matter of how we get that feeling into the picture and make it a part of [Michael] Chabon's story.
The argument that all Jews have a heartfelt investment in the state of Israel is untrue. Some have a heartfelt investment in corned beef sandwiches.
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