A Quote by Barbara W. Tuchman
If a man is a writer, everybody tiptoes around past the locked door of the breadwinner. But if you're an ordinary female housewife, people say, 'This is just something Barbara wanted to do; it's not professional.'
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I once missed an appointment because I left my house, I locked the door. And then I thought, like anybody else, you know, 'I don't think I locked the door.' I just kept going back to the door. And I couldn't stop myself from checking and checking.
I've wanted to produce for a long time. I'd love to get a bunch of my girlfriends together - a female writer, a female director - and create something. Creatively, it's a different dimension. Why wouldn't people want that?
In ancient times, people weren't just male or female, but one of three types: male/male, male/female, female/female. In other words, each person was made out of the components of two people. Everyone was happy with this arrangement and never really gave it much a thought. But then God took a knife and cut everybody in half, right down the middle. So after that the world was divided just into male and female, the upshot being that people spend their time running around trying to locate their missing other half.
A man who will not leave his room because he does not know how, or is afraid to open the door, is trapped just the same whether or not the door is locked.
If she were a writer she would collect her pencils and notebooks and favourite cat and write in bed. Strangers and lovers would never get past the locked door.
Everyone has doors in the living room of their lives that they assume are locked. Doors that lead to artistic expression. People say "I have no talent -- I can't dance or sing or paint or write poetry or play an instrument." More often than not the doors are not locked, just closed. One may turn the handle, open the door and pass through into a larger life space.
As a fiction writer, that's been a preoccupation of mine: Can you really just close the door and leave the past back there behind you, or is the door going to blow open at some point?
Later on, when I tried to imagine how I might have ruined things, that would occur to me - that I'd so rarely resisted, that I hadn't made it hard enough for him. Maybe it was like gathering your strength and hurling your body against a door you believe to be locked, and then the door opens easily - it wasn't locked at all - and you're standing looking into the room, trying to remember what it was you thought you wanted.
But, for the role of Sarah Linden, we saw everybody. Everybody wanted this role. Every female actor in town really wanted to play a real woman and be in this drama. It was incredible that all these women were coming in. And then, Mireille [Enos] walked in the door and she was reading the lines that I had written, and I saw her in that field. I was like, "Wow, she's the one."
If you look around anywhere, layers are an important part of, not just the story and the concept, but the world you're in. If you just turn around and look at your office door, there's a door, and there's something behind it.
Being a female director become as professional as your male colleagues and forget the whole question about being female. You are female anyway and it is going to work in your favor. The scope of female professional superiority can be understood by so few men that mostly they do not miss it.
If Martin Luther King, Roy Wilkins or any of these compromising Negros who say exactly what the white man wants to hear is interviewed anywhere in the country you don't get anybody to offset what they say. But whenever a black man stands up and says something that white people don't like then the first thing that man does is run around to try and find somebody to say something to offset what has just been said. This is natural but it is done.
I think some people are not interesting to themselves. They're the sad, resigned folk. When people call themselves ordinary - "I'm just an ordinary person" - you do wonder what they mean, because people who call themselves ordinary occasionally turn out to be serial killers. Beware of those who say they're ordinary.
The postmodern reply to the modern consists of recognizing that the past, since it cannot really be destroyed, because its destruction leads to silence, must be revisited: but with irony, not innocently. I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows he cannot say to her, I love you madly, because he knows that she knows (and that she knows that he knows) that these words have already been written by Barbara Cartland. Still, there is a solution. He can say, As Barbara Cartland would put it, I love you madly.
I don’t think there is any such thing as an ordinary mortal. Everybody has his own possibility of rapture in the experience of life. All he has to do is recognize it and then cultivate it and get going with it. I always feel uncomfortable when people speak about ordinary mortals because I’ve never met an ordinary man, woman, or child.
The writer is a spiritual anarchist, as in the depth of his soul every man is. He is discontented with everything and everybody. The writer is everybody's best friend and only true enemy-the good and great enemy. He neither walks with the multitude nor cheers with them. The writer who is a writer is a rebel who never stops
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