A Quote by Andrew Lam
America's story is largely an immigrant story. That hasn't changed since the Pilgrims ate their first turkey some four hundred years ago, and they were the original boat people.
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Since 1890, the Tour d'Argent's basic recipe hasn't changed. If you find yourself at the restaurant tomorrow, you will eat duck in the confidence that it was what someone ate a hundred years ago. You will eat it in the expectation that someone else will be served it a hundred years from now.
When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.
Raphael painted, Luther preached, Corneille wrote, and Milton sang; and through it all, for four hundred years, the dark captives wound to the sea amid the bleaching bones of the dead: for four hundred years the sharks followed the scurrying ships; for four hundred years America was strewn with the living and dying millions of a transplanted race; for four hundred years Ethiopia stretched forth her hands unto God.
Mr. Hillaire Belloc has pointed out that science has changed greatly, and for the worse, since it became popular. Some hundred years ago, or more, only very unusual, highly original spirits were attracted to science at all; scientific work was therefore carried out by men of exceptional intelligence. Now, scientists are turned out by mass production in our universities.
Ialways think it's funny when Indians celebrate Thanksgiving. I mean, sure, the Indians and Pilgrims were best friends during the first Thanksgiving, but a few years later, the Pilgrims were shooting Indians. So I'm never quite sure why we eat Turkey like everybody else. (101)
I feel I have a responsibility to carry out the immigrant story, since it's one that I hold very dear to my heart, since my story is similar in a lot of ways.
I try to express with the camera what the story is, to get to the heart of the story with picture. In battle I look at things first in terms of people, second in terms of strategies or casualties... To tell a story, you don't photograph one hundred dead civilians to prove there were one hundred dead civilians. You photograph one dead civilian with an expression on his face that says, This is what it's like if you're a dead civilian in Vietnam.
A lot of people we tell the story to assume that the Four Horsemen of the Apocalypse were actually part of the original Washington Irving story, which only happens to be 17 pages. It's a great starting point, and then we built on it, very much in a logical progression.
'The Immigrant Story,' which took me about twenty-five years to write, was a very simple story, but I couldn't think of how to tell it. Then twenty years after I started it, I found this one page and realized it was going to be the story. That's the only way you get it sometimes.
After modernism, things changed. Indeed, modernism sometimes seems to me like an equivalent of the Fall. Remember, the first thing Adam and Eve did when they ate the fruit was to discover that they had no clothes on. They were embarrassed. Embarrassment was the first consequence of the Fall. And embarrassment was the first literary consequence of this modernist discovery of the surface. "Am I telling a story? Oh my God, this is terrible. I must stop telling a story and focus on the minute gradations of consciousness as they filter through somebody's.
Yes, business really does change. 400 years ago, corporations were formed by royal decree. 300 years ago, many countries were powered by slave labour, or its closest moral equivalent. 200 years ago, debtors didn't go bankrupt, they went to prison. 100 years ago - well, business is largely the same as it was a century ago. And that's exactly the problem. Business hasn't changed, but today's array of tectonic global shocks demands a different, radically better kind of business. Yesterday's corporations visibly cannot meet today's economic challenges.
For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
Some of my ancestors were religious dissenters who came to America over three hundred years ago. Others were abolitionists in New England in the eighteen forties and fifties.
The first 50 years of the cinema were absolutely great years. Original minds were at work establishing the ways to tell a story. And what is happening now is a copying, a pastiche-ing of what was done by great men.
The first Knightfall story is four issues, and it is extremely focused and intense. People who have read, say, the 'Cats In the Cradle' arc in 'Secret Six' will get some idea of the primal tone of this story. It doesn't let up at all, and it ends in a new place.
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