A Quote by Alexandra Kleeman
We talk about characters in literature as though they were built on the model of the real person, but then I often think that the way we present ourselves as real people is based heavily on the way literary psychologies are stylized, and I wonder how the two forms of realistic personhood feed on or fulfill each other.
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I find the best way to make things real is to just put two characters into a space and let them talk to each other in the way that they would talk to each other, and then see what they would say. I know it sounds weird, but that leads the plot and takes you in another direction.
When I'm talking to groups that are all men, we talk about how the masculine role limits them. They often want to talk about how they missed having real fathers, real loving, present fathers, because of the way that they tried to fit the picture of masculinity.
It seems to me that literature is giving way a little bit to the immediacy of other diversions, other forms of entertainment. What will it be in fifty years? I don't know. Will there be printed books? Probably, but I'm not sure. There's always going to be literature, though. I believe that. I think literature has a way of getting deep into people and being essential. Literature has its own powers.
Art should walk a tightrope. That's what art should be. Art should be dangerous. You can't be scared to say something with it. People love to talk about how comics are real art and real literature, so why not use these characters to talk about real things, even if it is dangerous?
To get a person's real opinion, ask what she thinks everyone else believes... If people truly hold a particular belief, they are more likely to think that others agree or have had similar experiences. [People] tend to assume that other people have had life histories at least somewhat similar to their own. When we talk about other people, we are often talking about ourselves, whether we know it ourselves.
There are characters in some short stories who exist as people, and there are other characters in different short stories who exist as purely literary constructs. You know, the young man in "Forbidden Brides of the Faceless Slaves in the Secret House of the Night of Dread Desire" - I probably got that right - is a literary construct, and enjoys being a literary construct. He has no life off stage, whereas the young men in "How to Talk to Girls at Parties" were as near to being real human beings as I could possibly get them.
In my profession more generally, it's not an exaggeration to say that masculinity is viewed as the root of all evil. If you were to take a literary theory course, you might think it would be about literature, but it's really not. It's about all the various forms of oppression on earth and how we can see them playing out in literary works. And behind all these forms of oppression is a guy.
I don't believe in marriage. I think at worst it's a hostile political act, a way for small-minded men to keep women in the house and out of the way, wrapped up in the guise of tradition and conservative religious nonsense. At best, it's a happy delusion - these two people who truly love each other and have no idea how truly miserable they're about to make each other. But, but, when two people know that, and they decide with eyes wide open to face each other and get married anyway, then I don't think it's conservative or delusional. I think it's radical and courageous and very romantic.
It is called the real presence, not in an exclusive sense, as though other forms of presence were not real, but by reason of its excellence. It is the substantial presence by which Christ is made present without doubt, whole and entire, God and man.
I think love is the most misunderstood emotion in the universe. I don't think half the people know what real love is. And I don't think half the people on this planet have ever experienced it. If people experienced for one moment what real love is, we could never live the way we live with each other. We couldn't do to each other what we're doing. We couldn't ignore what we're ignoring. We couldn't allow it to be the way it is.
Cognitive therapy is based on the idea that when you change the way you think, you can change the way you feel and behave. In other words, if we can learn to think about other people in a more positive and realistic way, it will be far easier to resolve conflicts and develop rewarding personal and professional relationships.
Comedy is drama. I think that if your characters are feeling something that is very real, then they have to respond in a way that feels real to them, and some situations, the only response you could possibly have is to respond in a way that's so extreme that people are going to laugh.
A lot of writers do think of their characters as living beings. I know that's the way people think. That's why I try to make them real in a certain way, because otherwise people won't read them. It's fine if some readers think of them as real. It's just not the way that I think of them.
I nod, thinking of how difficult marriage can be, how much effort is required to sustain a feeling between two people - a feeling that you can't imagine will ever fade in the beginning when everything comes so easily. I think of how each person in a marriage owes it to the other to find individual happiness, even in a shared life. That is the only real way to grow together, instead of apart.
I increasingly wonder whether most humans are in a constant state of unconsciously fearing each other. Perhaps they fear how intimately different other people might be to them, and the problem is that there is no real way of finding out just how huge that difference might be.
People cannot stand the saddest truth I know about the very nature of reading and writing imaginative literature, which is that poetry does not teach us how to talk to other people: it teaches us how to talk to ourselves. What I'm desperately trying to do is to get students to talk to themselves as though they are indeed themselves, and not someone else.
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