A Quote by Chang-Rae Lee

When I'm describing wartime activities or violence I don't want to be too ornate, to prettify the picture. Once we trace them to the present, the prose becomes denser. — © Chang-Rae Lee
When I'm describing wartime activities or violence I don't want to be too ornate, to prettify the picture. Once we trace them to the present, the prose becomes denser.
I'm always trying to get to a danger point in color, where color either becomes too sweet or it becomes too harsh, it becomes too noisy or too quiet, and at that point I still want the picture to be strong, forceful, and the carrier of everything that a painting has to have: contrast, drama, austerity.
Once you have a clear picture of your priorities - that is values, goals, and high leverage activities - organize around them.
When people are too present, too familiar or too in our face, something happens to us psychologically. We begin to tune them out, we begin to get sick of them, we begin to know them so well and become so familiar with who they are that we loose a bit of respect for them. You pass a certain threshold with the fact that you're too present in their lives, too much in their face and once that threshold is passed you're never going to repair it they have lost a certain respect for you.
Rich, ornate prose is hard to digest, generally unwholesome, and sometimes nauseating.
I wish my prose to be transparent?I don't want the reader to stumble over me; I want him to look through what I'm saying to what I'm describing. I don't want him ever to say, Oh, goodness, how nicely written this is. That would be a failure.
I think American audiences are quite interesting in that they can handle almost any amount of violence, but the moment the violence becomes sexual violence it immediately becomes an issue.
Every vice was once a virtue, and may become respectable again, just as hatred becomes respectable in wartime.
Once you uncover the history of this pattern and trace its roots, you will see that your reaction in the present moment is really a reaction from the past, a shadow character's attempt to protect you from reexperiencing an old emotional wound, which instead sabotages you in the present.
Just as we accumulate memories of facts by integrating them into a network, we accumulate life experiences by integrating them into a web of other chronological memories. The denser the web, the denser the experience of time.
What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.
My gift, if that's not too grandiose a term, is one for describing novels, biographies, and works of history in such a way that people want to read them.
Prose is all about embellishing and describing.
Patriarchy requires violence or the subliminal threat of violence in order to maintain itself... The most dangerous situation for a woman is not an unknown man in the street, or even the enemy in wartime, but a husband or lover in the isolation of their home.
Once you establish what activities your company needs to do, the next question is, 'How do these activities get accomplished?' i.e. what resources do I need to make the activities happen?
I think of being ornate as a Victorian quality, little to do with Shakespeare. But even Dickens wasn't ornate; he wrote with flow and naturalism.
Once again...Rick Bass draws us into his magical human worlds, rendered urgently by a hypnotic prose that tracks a parallel and untamed natural world, often with a trace of loss and always patrolled by unmistakable decency. He is a master of this form.
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