A Quote by Alma Guillermoprieto
Well, one of the things I discovered in the course of looking back and writing about what I saw in my memory is that I was a closely observant person long before I became a reporter.
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I discovered a long time ago that writing of the small things of the day, the trivial matters of the heart, the inconsequential but near things of this living, was the only kind of creative work which I could accomplish with any sincerity or grace. As a reporter, I was a flop, because I always came back laden not with facts about the case, but with a mind full of the little difficulties and amusements I had encountered in my travels.
Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects
Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects.
Mr. Montag, you are looking at a coward. I saw the way things were going a long time back. I said nothing. I am one of the innocents who could have spoken up and out when no one would listen to the 'guilty,' but I did not speak and thus became guilty myself.
A lot of people don't realize that I started my career in sports and was a sports reporter long before I was on television. I used to be an NBA reporter and an NHL reporter.
We don't all see the same way at all. Even if I'm sitting looking at you, there is always the memory of you as well. And a memory is now. So someone who's never met you before is seeing a different person. That's bound to be the case. We all see something different. I assume most people don't look very hard at anything.
It's a hard thing to examine and difficult to speak for other writers, but when I look at my own writing there is often too much reticence. And that's a flaw I have as a person as well. I'm too reticent. I'm non-confrontational to a fault. And I'm risk-averse, which probably shows in my sentences. The aversion to long lines, the tendency to strip things back and be spare. My writing is an act of erasure that's tied up with my personality. I can easily produce a ninety thousand word chunk of writing and then cut back and back until I've only got ten thousand words. Or nothing.
I think of my life as divided between a lot of different periods. I grew up in the country, but as I got older I became more of an urban person. That's really when I started to become more of a creative person who was interested in fine arts, painting, drawing, and music. I studied jazz for a long time. Looking back, all those things were great training.
Looking at how things might be under Trump is scary, particularly when a pinnacle moment in his campaign saw him mocking and belittling a reporter with a disability.
Here's the thing: I was charming. Well read and well spoken. Observant and even kind. In other words, I was kind of a catch. And I knew this was true. As long as you couldn't see me. If you saw me, you'd think I was the sea cow that had swallowed your catch.
Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life.
Looking back on our lives, we invariably find that the person we pretended to be is the person we became.
If a reporter doesn't like the person he's writing about, it shows up in his article.
Before I was ever a poet, my father was writing poems about me, so it was a turning of the tables when I became a poet and started answering, speaking back to his poems in ways that I had not before.
It was not the case that one thing morphed into another, child into woman. You remained the person you were before things happened to you. The person you were when you thought a small cut string could determine the course of a year. You also became the person to whom certain things happened. Who passed into the realm where you no longer questioned the notion of being trapped in one form. You took on that form, that identity, hoped for its recognition from others, hoped someone would love it and you.
Now I'm writing about contemporary Los Angeles from memory. My process was to hang out, observe, research what I was writing about, and almost immediately go back to my office and write those sections. So it was a very close transfer between observation and writing.
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