A Quote by Alexander Chee
I knew I wanted the parties in 'The Queen of the Night' to be convincing, beautiful, and also dramatic: situations where significant things happened on a scale that was both grand and intimate. There were several texts that helped me think about how to do this, and one of the most important ones was Charlotte Bronte's novel 'Villette.'
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I loved Charlotte Bronte when I was little, and I wanted to be Charlotte Bronte the way people want to be a princess.
The important thing for me as an educator is how to - how do we unsettle the minds and touch the souls of significant numbers of young people who don't read texts or don't read my texts.
I am preoccupied with the possibility of creating art which functions in a public situation without compromising its private character of being antiheroic, antimonumental, antiabstract, and antigeneral. The paradox is intensified by the use on a grand scale of small-scale subjects known from intimate situations--an approach which tends in turn to reduce the scale of the real landscape to imaginary dimensions.
One of the things that's exciting for me about this novel is that, to me, Brookland and The Testament of Yves Gundron were both, in certain regards, crypto-steampunk. They're both books that are interested in an alternate technological past that in fact didn't historically come to pass. If you were to ask me what my novels were about, I would say, well, these are novels about technology and how we relate to technology and what technology means.
It is certainly true that whatever a man may do or say, the most significant thing about him is what he thinks; and significant also is how he came to think it, why he continued to think it, or, if he did not continue, what the influences were which caused him to change his mind.
As an editor, I read Charlotte Rogan's amazing debut novel, 'The Lifeboat,' when it was still in manuscript. I read it in one night, and I really wanted my company to publish it, but we lost it to another house. It's such a wonderful combination of beautiful writing and suspenseful storytelling.
In some ways, in 'The Queen of the Night,' I'm writing about some of the experience that I had with 'Edinburgh' where I was entirely unable to speak about what had happened to me as a child, but I could read from the novel.
The Confessions of Catherine de Medici is a dramatic, epic novel of an all-too-human woman whose strength and passion propelled her into the center of grand events. Meticulously-researched, this engrossing novel offers a fresh portrait of a queen who has too often been portrayed as a villain. Bravo Mr. Gortner!
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When I think about people like Queen Latifah, who literally found a script for me to star in, that's what I want to be for somebody. When you look at someone like Queen Latifah, or you think about the Will Smiths, those people are multifaceted. They do so many different things, but most important, they give back.
Before Dream Theater took off I used to teach a lot, and one of the things my students often asked me was how to apply the chromatic scale to practical playing situations. You see, their other teachers would give them chromatic warm-up exercises without providing any explanation of how important and versatile this scale actually is.
I have to say that one of the most important things Scientology has given me is the ability to keep my integrity together. I understand how people can get into unethical situations, and Scientology has always helped me keep my head clear and be in present time.
The World Trade Center was for me not only out of scale vertically, but it was also out of scale in plan. It occupied several blocks that were all massed together.
That's just how I see things. I think things that are the most dramatic or tragic can also look the most ridiculous and funny. That's part of being human.
But Jude,' she would say, 'you knew me. All those days and years, Jude, you knew me. My ways and my hands and how my stomach folded and how we tried to get Mickey to nurse and how about that time when the landlord said...but you said...and I cried, Jude. You knew me and had listened to the things I said in the night, and heard me in the bathroom and laughed at my raggedy girdle and I laughed too because I knew you too, Jude. So how could you leave me when you knew me?
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