A Quote by Alicia Ostriker
The work of Jana Harris is unique in American writing. She has always had a voice of true grit—sometimes harsh, sometimes funny, always close to the bone, tart, and indomitable.
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Joaquin Jackson's frank and colorful account of his long career as a modern-day Texas Ranger thrills like an action novel, yet the stories are true, sometimes funny, sometimes tragic, but always gripping. I could hardly put the book down. . . .The writing is superb.
Art was always my main focus; I fell into writing by accident in the 1980s, writing magazine articles to pay for my studio. I have to put myself into the position of writing; sometimes it doesn't work, and sometimes it works great.
I show up in my writing room at approximately 10 A.M. every morning without fail. Sometimes my muse sees fit to join me there and sometimes she doesn't, but she always knows where I'll be. She doesn't need to go hunting in the taverns or on the beach or drag the boulevard looking for me.
Plants grow most in the darkest hours preceding dawn; so do human souls. Nature always pays for a brave fight. Sometimes she pays in strengthened moral muscle, sometimes in deepened spiritual insight, sometimes in a broadening, mellowing, sweetening of the fibres of character,—but she always pays.
Sometimes I yell, sometimes I raise my voice. I am trying to do it less, because it's not always attractive. It's not always the right thing to do.
Rapping can be repetition sometimes. Sometimes you gotta highlight your words in a certain kind of way. So I always was a fan of sing-rapping. It was always funny to me a little bit, and I think that being funny and being able to laugh, even at yourself, is a form of flattery.
Like a lot of us, sometimes I'm preaching to the choir, and sometimes my voice doesn't even get heard at all. Sometimes I think that what I'm writing now might not even have an impact for the next three or four generations. Sometimes I sit there and write, and I think, "It'll be two hundred years before they get what I'm writing about."
People have always heard voices. Sometimes they're called shamans, sometimes they're called mad, and sometimes they're called fiction writers. I always feel lucky that I live in a culture where fiction writing is legal and not seen as pathology.
I'm always fighter. I'm always fighter first. I voice that opinion, which sometimes gets me in trouble, but as long as you're true to yourself, you're going to be all right.
No matter how interminable something feels, there is always, always an ending. Sometimes that's good, and sometimes it's bad; sometimes it's a matter of indifference, and sometimes it's heartbreaking, and your life is never the same thereafter.
Sometimes, there's a preconceived notion of how a scene or how a work should be delivered. And I see young performers sometimes try and deliver that, and it's not really true to their voice or who they are.
I was educated by nuns. None of them, of course, did anything resembling the actions of Lydia from The Handmaid's Tale, but they taught me a work ethic, that I had to toe the line, that I had to step up and do my work, and that we would stay until it was done, and that came from a devotion to making you the best person you can be. That's the take I have on Lydia. She knows her actions are firm and sometimes very harsh, but she also looks after them.
Sometimes you move publicly, sometimes privately. Sometimes quietly, sometimes at the top of your voice. And sometimes an active policy is best advanced by doing nothing until the right timeor never.
Hard-earned achievement brings a sense of self-worth. Work builds and refines character, creates beauty, and is the instrument of our service to one another and to God. A consecrated life is filled with work, sometimes repetitive, sometimes menial, sometimes unappreciated but always work that improves, orders, sustains, lifts, ministers, aspires.
It's funny how close the past is, sometimes. Sometimes it seems as if you could almost reach out and touch it. Only who really wants to?
Sometimes I feel like I'm taking on a role when I'm writing a song, and it doesn't always have to be true. I'm not sitting in my room crying with my guitar, writing a slow solo about a depressing breakup; that's not me.
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