A Quote by Chelsea Martin

I didn't really have a major role in how it was described. I wanted it to be a collection of essays where each storyline could be contained. — © Chelsea Martin
I didn't really have a major role in how it was described. I wanted it to be a collection of essays where each storyline could be contained.
I wanted to create an environment in which more than just personal essays could be represented, and in which stranger approaches to making essays could be celebrated.
I feel that I'm an essayist and that my best work gets done in that form. I wanted to do a book where the essays could exist on their own terms. A book that was neither a book of essays that were shoehorned into a memoir, nor [one where] the essays had been published elsewhere first, [because] then they would kind of bear the marks of those publications.
Billy Wilder is really is a heavy influence on Bound. We felt that film noir was a genre where you could create a really contained story. We wanted to be on a set as much as we could to get the kind of style level we were looking for.
The Restless Anthropologist is a rich, powerful, and compulsively readable collection of essays by anthropologists who look back at the multiple relationships between their serial fieldwork experiences and their lives. Illustrating the dense interweaving of the personal and the professional that is the hallmark of anthropology as a vocation, these essays are at once affectively deep reflections, and clear-eyed assessments, of lives often lived 'between here and there.' Alma Gottlieb's idea to stimulate these articles and bring together this collection was inspired.
What you do off the job plays a major role in how far you go on the job. How many good books, do you read each year? How often do you attend workshops? Who do you spend must of your time with?
I wanted to make a late-night-type show that happened to be in the morning for moms. Bravo was more interested in a blend of my books 'Momzillas' and 'Sometimes I Feel Like a Nut,' which is a collection of nonfiction essays.
I could write another collection of personal essays from what has happened to me in the last year alone. I don't seek out my material - it finds me. I am magnetic, somehow.
I'm even stunned at some of the majors you can get in college these days. Like you can major in the mating habits of the Australian rabbit bat, major in leisure studies... Okay, get a journalism major. Okay, education major, journalism major. Right. Philosophy major, right. Archeology major. I don't know, whatever it is. Major in ballroom dance, of course. It doesn't replace work. How about a major in film studies? How about a major in black studies? How about a major in women studies? How about a major in home ec? Oops, sorry! No such thing.
I really wanted to, but I just didn't understand how people became comedians. I kind of thought it was something you were born into. And so I wanted to be a veterinarian or an architect. I wanted to be in a band, and for some reason I could understand how you could be in a band because I had guitars and all my friends played music. Comedy was a secret want, but it wasn't anything I pursued.
When I auditioned with Anthony Minghella (The No. 1 Ladies Detective Agency), I loved the audition process, although I hated him for it. Because he had me audition six times for that role. Maybe three hours each. He wanted to see how quickly I could vary.
I never really wanted to be a daily critic who goes out every night and writes 300 word reviews, I wanted to write essays. And that gave me the luxury to be able to go out and if it was lousy, I could just say, well the hell with that, I'll go to hear something else, or, I'll go tomorrow night; I as writing for a weekly.
How will we defend ourselves if the Patriot Act expires? Well, perhaps we could just rely on the Constitution and demonstrate exactly how traditional judicial warrants can gather all the info we need - and how bulk collection really hasn't worked.
I started out as a poet who primarily wanted to write about image and moment. Over the years I've been trying to teach myself how to do plot and scene. My first story collection had the most issues with the plotlessness, and when I was writing my second collection I was teaching myself how to make things happen.
He would talk to them of stories and books, and explain to them how stories wanted to be told and books wanted to be read, and how everything that they ever needed to know about life and the land of which he wrote, or about any land or realm that they could imagine, was contained in books. And some of the children understood, and some did not.
Pamela Smith and Benjamin Schmidt have gathered together a wide-ranging and provocative set of original essays that successfully demonstrate how contingent the process of making knowledge was during a period of fundamental epistemological change. This is a finely crafted and conceptualized collection.
I wasn't a kid who wanted to be a writer. I wanted to be a doctor. I was kind of morbid. I was really into the body and how it could go wrong. I wanted to dig up bodies from the graveyard.
This site uses cookies to ensure you get the best experience. More info...
Got it!