A Quote by Chinua Achebe
The triumph of the written word is often attained when the writer achieves union and trust with the reader, who then becomes ready to be drawn into unfamiliar territory, walking in borrowed literary shoes so to speak, toward a deeper understanding of self or society, or of foreign peoples, cultures, and situations.
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How often I have tried to tell writing students that the first thing a writer must do is love the reader and wish the reader well. The writer must trust the reader to be at least as intelligent as he is. Only in such well wishing and trust, only when the writer feels he is writing a letter to a good friend, only then will the magic happen.
Across all U.S. intelligence agencies, there is a lack of cultural respect and a poorly tuned attitude toward foreign peoples and cultures.
In that way, any world you create will become real. The reader makes it so. The reader becomes implicated in the creation of the world, complicit with the writer. It's the best sort of bond with audience that a writer can hope for, but it demands a great deal of trust on both sides.
Death is with you all the time; you get deeper in it as you move towards it, but it's not unfamiliar to you. It's always been there, so what becomes unfamiliar to you when you pass away from the moment is really life.
Before one is successful that is before any one is ready to pay money for anything you do then you are certain that every word you have written is an important word to have written and that any word you have written is as important as any other word and you keep everything you have written with great care.
Typically, the hero of the fairy tale achieves a domestic, microcosmic triumph, and the hero of myth a world-historica l, macrocosmic triumph. Whereas the former-the youngest or despised child who becomes the master of extraordinary powers-prevails over his personal oppressors, the latter brings back from his adventure the means for the regeneration of his society as a whole.
....Man's struggle to be rational about himself, about his relationship to his own society and to other peoples and nations involves a constant search for understanding among all peoples and all cultures-a search that can only be effective when learning is pursued on a worldwide basis.
There are writers you admire, for the skill or the art, for the inventiveness or for the professionalism of a career well spent. And there are writers-sometimes the same ones, sometimes not-to whom you are powerfully attracted, for reasons that may or may not have to do with literary values. They speak to you, or speak for you, sometimes with a voice that could almost be your own. Often there is one writer in particular who awakens you, who is the teacher they say you will meet when you are ready for the lesson.
Simply put, meta-writing is writing that is self-conscious, self-reflective, and aware of itself as an artifice. The writer is aware she's writing, and she's aware there's a reader, which goes all the way back to Montaigne's often-used address "dear reader," or his brief introduction to Essais: "To the Reader." It can be done in a myriad of ways.
It's true that misunderstanding and lack of understanding are often themes in my fiction, but I am grateful for the moments when true understanding is achieved, especially between writer and reader. It's miraculous.
The Bible was written in several languages, embraces many literary forms, and reflects cultures very different from our own. These are important considerations for properly understanding the Bible in its context.
I think, in a way, I've returned to who I used to be as a global correspondent whose life was devoted to really making a difference, illuminating what's happening in the world, always drawn toward the suffering of peoples and cultures and exposing exploitation and injustice; but now I'm the same person in a much, much softer iteration.
I appreciate the written word and spoken word more, but Atonement sort of established so much of me. It was a character that didn't really speak, and I found that a lot of the roles I was gravitating toward after that were kind of nonverbal.
Producing a film is more unfamiliar territory. Although producing an album and overseeing artists is a task within itself. But film is unfamiliar territory so, here and now, that's more difficult.
I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.
But novels are never about what they are about; that is, there is always deeper, or more general, significance. The author may not be aware of this till she is pretty far along with it. A novel's whole pattern is rarely apparent at the outset of writing, or even at the end; that is when the writer finds out what a novel is about, and the job becomes one of understanding and deepening or sharpening what is already written. That is finding the theme.
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