A Quote by Andre Aciman
Don't all writers have a hidden nerve, call it a secret chamber, something irreducibly theirs, which stirs their prose and makes it tick and turn this way or that, and identifies them, like a signature, though it lurks far deeper than their style, or their voice or other telltale antics?
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A hidden nerve is what every writer is ultimately about. It's what all writers wish to uncover when writing about themselves in this age of the personal memoir. And yet it's also the first thing every writer learns to sidestep, to disguise, as though this nerve were a deep and shameful secret that needs to be swathed in many sheaths.
..few writers like other writers' works. The only time they like them is when they are dead or if they have been for a long time. Writers only like to sniff their own turds. I am one of those. I don't even like to talk to writers, look at them or worse, listen to them. And the worst is to drink with them, they slobber all over themselves, really look piteous, look like they are searching for the wing of the mother. I'd rather think about death than about other writers. Far more pleasant.
I'm a line-maker. I think that's what makes poets different from prose-writers. That's the main way. We think, not just in sentences the way prose writers do but also in lines. So we're doing these two things at the same time.
Poets seem to write more easily about love than prose writers. For a start, they own that flexible ‘I’…. Then again, poets seem able to turn bad love – selfish, shitty love – into good love poetry. Prose writers lack this power of admirable, dishonest transformation. We can only turn bad love into prose about bad love. So we are envious (and slightly distrustful) when poets talk to us of love.
I am very interest in the human condition. That is what I love about acting. I like studying different people and their psychosis. I like discovering what makes them tick. I always find that with any character I play. I need to find out what makes them tick.
Narco fiction novels have a reputation, at least here in Mexico among some of the writers I know, of being somewhat rushed productions, usually written in one way or another like crime thrillers, with something cheesily exploitative about them. It feels exploitive - taking this horrible and ongoing tragedy and trying to turn it into something entertaining. Or trying to turn it into something that might earn the writer a reputation of the sort that many writers believe they aspire to. Or earn them money.
Beauty is often spoken of as though it only stirs lust or admiration, but the most beautiful people are so in a way that makes them look like destiny or fate or meaning, the heroes of a remarkable story.
I don't think I'm intentionally rejecting anything for the sake of rejecting it. I do think though that my style is hard to define around a certain signature. Perhaps the haphazard style will itself become a signature?
There is certainly a universal and unconscious propensity to impose a rhythm even when one hears a series of identical sounds at constant intervals... We tend to hear the sound of a digital clock, for example, as "tick-tock, tick-tock" - even though it is actually "tick tick, tick tick.
I'd rather call prose poems something else, for clarity - something like "poetic prose," prose that contains a quality of poetry, but not poems.
How shall we define occultism? The word is derived from the Latin occultus, hidden; so that it is the study of the hidden laws of nature. Since all the great laws of nature are in fact working in the invisible world far more than in the visible, occultism involves the acceptance of a much wider view of nature than that which is ordinarily taken. The occultist, then, is a man who studies all the laws of nature that he can reach or of which he can hear, and as a result of his study he identifies himself with these laws and devotes his life to the service of evolution.
I think each of my books attempts to create its own voice so I'm not even sure I have a signature style, other than certain descriptive tendencies, an interest in the sound of language. Maybe an immersion in place.
Oddly enough, I suppose, I don't give much thought to my style, and I don't attempt to be consistent - except within a story. You ask if I struggled to find my style. It seems to me that style - in other words, a way of thinking and doing things - is innate. You can try to will it to be different, but it's like a signature - you can't change its fundamental nature.
I am not attracted to writers by style. What style do Dickens, Grass, and Vonnegut have in common? How silly! I am attracted to what makes them angry, what makes them passionate, what outrages them, what they applaud and find sympathetic in human beings and what they detest about human beings, too. They are writers of great emotional range.
All that is limited by form, semblance, sound, color is called object. Among them all, man alone is more than an object. Though, like objects, he has form and semblance, He is not limited to form. He is more. He can attain to formlessness. When he is beyond form and semblance, beyond "this" and "that," where is the comparison with another object? Where is the conflict? What can stand in his way? He will rest in his eternal place which is no-place. He will be hidden in his own unfathomable secret. His nature sinks to its root in the One. His vitality, his power hide in secret Tao.
You must never conclude, even though everything goes wrong, that you cannot succeed. Even at the worst there is a way out, a hidden secret that can turn failure into success and despair into happiness. No situation is so dark that there is not a ray of light
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