A Quote by Claudia Rankine
I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.
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My idea in terms of managing a narrative, or in thinking in my creative life, is that you could easily argue that the past, the present and the future all occur simultaneously, and if you can postulate that, then you're not strictly bound to a linear narrative.
The continuous narrative of existence is a lie. There is no continuous narrative, there are lit-up moments, and the rest is dark.
I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
I want to photograph what I see and put it in a dramatic context. I'm an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That's what I want to do.
I want the vetting to be solid. But I also want to bring these people in because not bringing them in sends a message, right, to the Muslim world and plays into the ISIS narrative and the Al Qaeda narrative, right, that this is a war between religions. And we can't have that.
I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.
When you have the national narrative being "crack is awful and black people are using it," why go against that narrative when you want to get that publication in The New York Times or wherever? It encourages people to play right into it.
The continuous narrative of existence is a lie. There is no continuous narrative, there are lit-up moments, and the rest is dark. When you look closely, the twenty-four hour day is framed into a moment; the still-life of the jerky amphetamine world. That woman-a pieta. Those men, rough angels with an unknown message. The children holding hands, spanning time. And in every still-life, there is a story, the story that tells you everything you need to know.
The Democrats, because they are the media, still establish the narrative for Washington every day. And whatever that narrative is, the Republicans - for some reason (I think it's force of habit and years and years of conditioning) - still become subservient to whatever that narrative is.
European children are educated in a narrative of human tolerance every day, and if you want to be sure to prevent a backlash, you should at least think of bringing Muslim children and teenagers into the fold of that narrative of tolerance.
You can have all the intentions you want and try and guide the narrative, but the narrative is irrelevant because it's how the public digests it that will be indicative of what the series will ultimately be.
To be ourselves we must have ourselves – possess, if need be re-possess, our life-stories. We must “recollect” ourselves, recollect the inner drama, the narrative, of ourselves. A man needs such a narrative, a continuous inner narrative, to maintain his identity, his self.
Many activists don't want to hear about some grand narrative, one that could unify all of our struggles. So the major issue that needs to be addressed is how to get people to see that there is indeed a grand narrative which just happens to be true.
I think it's good practice, if you're a writer, or anyone who's shaping narrative, to be flexible and open with the direction of the narrative.
I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.
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