A Quote by Suzanne Vega
Writing in other voices is almost Japanese in the sense that theres a certain formality there which allows me to sidestep the embarrassment of directly expressing to complete strangers the most intimate details of my life.
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Writing in other voices is almost Japanese in the sense that there's a certain formality there which allows me to sidestep the embarrassment of directly expressing to complete strangers the most intimate details of my life.
Anger is one of the most intimate of emotions and to expose it to strangers is one of the most stupid and sickening things to do. Never get angry with strangers because they are strangers.
The idea of writing, to me, was, from the beginning, was writing something which was a little different from the ordinary exchange of speech. It was something that had a certain formality, something in which the words were of interest in themselves.
I am as fond of colorful language as anyone, but I try not to inflict it upon strangers. I suspect many people sense they should have better manners, and need only a nudge. In high school, I was addressed for the first time in my life as "Mister Ebert" by Stanley Hynes, an English teacher, and his formality transformed his classroom into a place where a certain courtliness prevailed.
The further limits of our being plunge, it seems to me, into an altogether other dimension of existence from the sensible and merely understandable world. Name it the mystical region, or the supernatural region, whichever you choose. So far as our ideal impulses originate in this region (and most of them do originate in it, for we find them possessing us in a way for which we cannot articulately account), we belong to it in a more intimate sense than that in which we belong to the visible world, for we belong in the most intimate sense wherever our ideals belong.
After a time I found that I could almost listen to the silence, which had a dimension all of its own. I started to attend to its strange and beautiful texture, which of course, it was impossible to express in words. I discovered that I felt at home and alive in the silence, which compelled me to enter my interior world and around there. Without the distraction of constant conversation, the words on the page began to speak directly to my inner self. They were no long expressing ideas that were simply interesting intellectually, but were talking directly to my own yearning and perplexity.
Ninety per cent of the world's woe comes from people not knowing themselves, their abilities, their frailties, and even their real virtues. Most of us go almost all the way through life as complete strangers to ourselves - so how can we know anyone else?
There is a huge difference between writing a book, which is a private activity I engage in with myself, and wanting to engage in overly intimate personal conversations with strangers, which I pretty much never want to do.
I feel a reassuring oneness with other people when I find that even my most intimate, anguished, socially inadmissible emotions and desires are known to others.... Kindred souls—indeed, my selves otherwise costumed—turn up in books in the most unexpected places. Discovering them is one of the great rewards of a liberal education. If I quote liberally, it is not to show off book learning, which at my stage of life can only invite ridicule, but rather to bathe in this kinship of strangers.
This makes his writing very pleasing to read: João Gilberto Noll pays attention to detail, but only to certain details. And it's never easy to foresee which details will send the narrator or the plot in an unsuspected direction.
For each detail I include, I throw dozens away. So I guess the first trick is to pick the right details, the most revealing details. Then I think one must simply write quick, clean, bright prose. For me, this means rewriting and rewriting: almost never adding, almost always cutting.
I don't like to read contemporary fiction while writing - I need a sense of isolation, a kind of silence, and I don't want a jumble of other people's voices or visions getting in my way. Nineteenth-century voices don't create static in that silence.
I used to just go up to strangers and tell them really elaborate stories about who I was and where I was from and try to spice my story, which I didn't think was very exciting at all. That gave me a sense of life, a sense of excitement - but I don't do that anymore.
Complete strangers can stand silent next to each other in an elevator and not even look each other in the eye. But at a concert, those same strangers could find themselves dancing and singing together like best friends. That's the power of music.
There was a time when I was way too reliant upon other people's opinions and perspective of me. And I guess over time came to see how unhealthy that was. I mean it's almost like a sign of mental illness to base your self-worth on the opinions of complete strangers.
When the poet's sentiments are overly visible, the audience may become uncomfortable. Japanese ritual is the opposite. By writing simply and only about what is there, the audience is drawn into the poet's world. Their imagination is stimulated, and a silent connection is established. I believe this is where the most important aspect of the Japanese sense of beauty lies.
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