A Quote by Barbara Kruger
All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.
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My dear Arthur, I never talk scandal. I only talk gossip. What is the difference between scandal and gossip? Oh! Gossip is charming! History is merely gossip. But scandal is gossip made tedious by morality.
Everybody likes a bit of gossip to some point, as long as it's gossip with some point to it. That's why I like history. History is nothing but gossip about the past, with the hope that it might be true.
Gossip is a kind of misalignment with people around you. You can either gossip about everyone, or you can become one with everyone.
I suppose really I was a wife, a mother and a business woman, and then suddenly catapulted into this kind of world of craziness where it’s… there’s good sides and there’s bad sides…I wouldn't kind of turn the clock back and take another direction.
It is important to insist on the historical truthfulness of the narrative of the fall of Adam and Eve. Just as the account of the creation of Adam and Eve is tied in with the rest of the historical narrative in the book of Genesis, so also this account of the fall of man, which follows the history of man's creation, is presented by the author as straightforward, narrative history
[In mountaineering, if] we look for private experience rather than public history, even getting to the top becomes an optional narrative rather than the main point, and those who only wander in high places become part of the story.
I'm Godless. And so I've had to make my God, and my God is narrative filmmaking, which is -- ultimately what my God becomes, which is what my mantra becomes, is the theme.
Free-form games in which the player can make choices about what the game is going to be, become a kind of gaming equivalent of the narrative possibility.
What is quite worrisome is the absence of analysis and reflection. Take the word "terrorism." It has become synonymous now with anti-Americanism, which, in turn, has become synonymous with being critical of the United States, which, in turn, has become synonymous with being unpatriotic. That's an unacceptable series of equations.
People love gossip because it's slightly removed from actuality. It's a very literary thing... You can hear a great story, and it turns out that it's largely not true. Fiction writing is like gossip. It's not malicious gossip, but it's gossip.
It's something that you pick up at a history class in college, the idea that history and time is something to which we can't even hold a candle to. We, as human beings, are just a small element in the overarching sweep of narrative history. That really had a profound effect on me, that realization.
In a very real way, one writes a story to find out what happens in it. Before it is written it sits in the mind like a piece of overheard gossip or a bit of intriguing tattle. The story process is like taking up such a piece of gossip, hunting down the people actually involved, questioning them, finding out what really occurred, and visiting pertinent locations. As with gossip, you can't be too surprised if important things turn up that were left out of the first-heard version entirely; or if points initially made much of turn out to have been distorted, or simply not to have happened at all.
Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.
There's some ambient music that doesn't do anything. I wouldn't say that that's narrative. It is narrative in that it creates a sort of world where nothing happens, where really nothing happens, so you become a different person after hearing eight minutes of exactly the same thing. Yes, I hear music all the time in which one idea is strung together to another idea, and I feel that such music is non-narrative.
...for reading, once begun, quickly becomes home and circle and court and family, and indeed, without narrative, I felt exiled from my own country. By the transport of books, that which is most foreign becomes one's familiar walks and avenues; while that which is most familiar is removed to delightful strangeness; and unmoving, one travels infinite causeways, immobile and thus unfettered.
Sharing art makes me feel vulnerable. Sharing a piece of you that cannot be objectified, that is so truly you. It is scary releasing new music to the public, because as soon as you do, it becomes a shared receptacle to which others can attach their own opinion and meaning. What makes it scary is also what makes it worth doing.
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