A Quote by Chris Abani

If there was no risk, it wouldn't be art. It wouldn't be worth making. There is risk even in a fairy tale. Fiction is closest to pure narrative, and pure narrative is simply the logic we try to impose on an ever-changing reality.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
to love is to risk, not being loved in return. to hope is to risk pain. to try is to risk failure. but risk must be taken because the greatest hazard in my life is to risk nothing.
To laugh is to risk appearing a fool. To weep is to risk appearing sentimental. To reach out to another is to risk involvement. To expose feelings is to risk exposing your true self. To place your ideas and dreams before a crowd is to risk their loss. To love is to risk not being loved in return. To hope is to risk pain. To try is to risk failure. But risks must be taken, because the greatest hazard in life is to risk nothing.
As you may know, my motto is: "All memory is fiction." It could just as easily be: "All fiction is memory." Unpacked, these two statements defy the ease of logic, but offer some really important truths about narrative art, at the very least, and about memory. So I would say that all art is personal.
I think that all art is socially conscious. There is no alternative. Whatever we produce contains a political and social statement. There's no way to avoid that, unless it is pure decoration. But even pure decoration has also some value because you can read pure decoration as a way to ignore the reality that is around us, saying, "Well, I'm not interested. I just like to paint this wall blue.
I'm not belittling the art world. Not at all. I take it quite seriously, actually. But the logic of art is a vanguard logic that pressures art to incorporate the quotient of risk.
Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.
I didn't think of the narrative as making a judgment. It didn't occur to me the reader would either, but that doesn't mean it isn't possible there would be that risk.
I think of myself as a narrative artist. I don't think of myself as a novelist or screenwriter or playwright. All of those modalities of processing and experiencing narrative are obviously very different, and I'm not sure that I prefer any one to the other. I think the novel gives you the opportunity to have a kind of interiority that you can't have in the theater, which is pure exteriority.
We are moving beyond the non-fiction novel to different kinds of narrative art, different forms of cognition. Loaded with moral and political point, narrative has been recalibrated to record, honour, and protest the latest historically specific instance of futility and mess.
I have been writing fairy tales for as long as I can remember. Not much has changed in terms of my natural attraction to the narrative techniques of fairy tales. My appreciation of them in the traditional stories has deepened, especially of flat and unadorned language, intuitive logic, abstraction, and everyday magic.
Making art is nothing but risk, always. If it's not risk, it's no good.
The risk of working with people you don't respect; the risk of working for a company whose values are incosistent with your own; the risk of compromising what's important; the risk of doing something that fails to express-or even contradicts--who you are. And then there is the most dangerous risk of all--the risk of spending your life not doing what you want on the bet that you can buy yourself the freedom to do it later.
No idea stays pure. Even the flowering of art isn't pure. And the sun has spots.
The human brain has evolved the capacity to impose a narrative, complete with chronology and cause-and-effect logic, on whatever it encounters, no matter how apparently random.
The church seeks to help form people who can risk being peaceful in a violent world, risk being kind in a competitive world, risk being faithful in an age of cynicism, risk being gentle among those who admire the tough, risk love when it may not be returned, because we have the confidence that in Christ we have been reborn into a new reality.
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