A Quote by Claire Messud

For me, it was a formative experience reading Eliot when I was younger. 'The Waste Land,' in particular. — © Claire Messud
For me, it was a formative experience reading Eliot when I was younger. 'The Waste Land,' in particular.
Probably the most formative experience was reading the 'Foundation' trilogy when I was about twelve years old. That wasn't the first science fiction I had ever read, but it's something that stands out in my memory as having had a big impact on me.
It's no wonder we don't defend the land where we live. We don't live here. We live in television programs and movies and books and with celebrities and in heaven and by rules and laws and abstractions created by people far away and we live anywhere and everywhere except in our particular bodies on this particular land at this particular moment in these particular circumstances.
Will biofuel usage require land? Absolutely, but we think the ability to use winter cover crops, degraded land, as well as using sources such as organic waste, sewage, and forest waste means that actual land usage will be limited. Just these sources can replace most of our imported oil by 2030 without touching new land.
Reading for experience is the only reading that justifies excitement. Reading for facts is necessary bu the less said about it in public the better. Reading for distraction is like taking medicine. We do it, but it is nothing to be proud of. But reading for experience is transforming.
T.S. Eliot's influence was enormous on my generation. Much more than Ezra Pound. I actually had to put T.S. Eliot books out of the house because my poetry was so influenced. Everything I wrote sounded like Eliot.
I do not regret the years I spent reading the traditional canon of white male writers in school. I do regret reading so little else there: Austen, George Eliot and occasionally Woolf, likewise Wright, Ellison, Hughes and Gwendolyn Brooks.
When we have an experience -- hearing a particular sonata, making love with a particular person, watching the sun set from a particular window of a particular room -- on successive occasions, we quickly begin to adapt to it, and the experience yields less pleasure each time. Psychologists call this habituation, economists call it declining marginal utility, and the rest of us call it marriage
What drew me to both study and activism was the formative experience of the civil rights movement.
The time for me in the Peace Corps was easily the most formative experience I've had in my life.
But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment.
Writers in the nineteenth century - people like George Eliot and Flaubert - were accustomed to addressing particular communities with which they shared not only linguistic meanings but also an experience and history. Those communities have progressively split in the twentieth century, and grown more heterogeneous, and writers emerging from minority communities have found themselves addressing audiences closer to their experience and history - a phenomenon derided by conservative white men as identity politics and multiculturalism in the arts.
For the last episode [of Downton Abbey], you'll need some handkerchiefs. I needed handkerchiefs reading it. It wasn't because it necessarily moved me while reading it, but it was the experience of reading it when I realized it was the last time I was ever going to be reading one of those scripts. That was quite terminal.
The Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.
But really, it was reading that led me to writing. And in particular, reading the American classics like Twain who taught me at an early age that ordinary lives of ordinary people can be made into high art.
No time spent with a book is ever entirely wasted, even if the experience is not a happy one: there’s always something to be learned. It’s just that, every now and again, you can hit a patch of reading that makes you feel as if you’re pootling about. [...] But what can you do about it? We don’t choose to waste our reading time; it just happens. The books let us down.
That experience of being at Mt. St. Helen's was really formative. I don't even know if I'd be a photographer. It was an essential moment for me.
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