A Quote by Clive Barker
Richard Christian Matheson is a master of compression. He knows how to catch a moment in words and convey it straight to the reader's heart.
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When a writer with a voice as good as Richard Christian Matheson's tells you something, you have no choice but to listen. In THE RITUAL OF ILLUSION the voices are legion, and the gaps between their testimonies drag us closer to understanding the darkly beating heart of all our, ephemeral, transfixing dreams. Dark, subtle, horrifically funny.
When I speak in Christian terms or Buddhist terms I'm simply selecting for the moment a dialect. Christian words for me represent the comforting vocabulary of the place I came from hometown voices saying more than the language itself can convey about how welcome and safe I am what the expectations are and where to find food. Buddhist words come from another dialect from the people over the mountain. I've become pretty fluent in Buddhist it helps me to see my home country differently but it will never be speech I can feel completely at home in.
Fiction is always a utopian task, in that there's an ideal you hold in your head as you write which inevitably fails in the moment of creation, in the insufficiency of words to convey meaning, or in the way the work is completed in the reader's head.
A disciple came to the celebrated Master of the Good Name with a question. “Rabbi, how are we to distinguish between a true master and a fake?” And the master of the good name said, “When you meet a person who poses as a master, ask him a question: whether he knows how to purify your thoughts. If he says that he knows, then he is a fake.
Let's get this out in the open once and for all. Here is how I feel about compression... Compression is for kids!!!!
With a lot of what we take to be true feelings, especially on pop records, we feel them because they're cleverly crafted. And because the words are written by somebody who knows how to craft words and draw on those things and convey those feelings. That doesn't mean they're dishonest. But it also doesn't mean that it's all just pure primitive emotion spilling out.
Stage is so important because it teaches me how to convey character with words - how to convey how a character reacts by the way they appear on stage. I can usually tell a playwright from someone who has never written for the stage. Did the character work? Did the dialogue reveal who the character is?
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
Is it not the business of the conductor to convey to the public in its dramatic form the central idea of a composition; and how can he convey that idea successfully if he does not enter heart and soul into the life of the music and the tale it unfolds?
As I lay so sick on my bed, from Christmas till March, I was always praying for poor ole master. 'Pears like I didn't do nothing but pray for ole master. 'Oh, Lord, convert ole master;' 'Oh, dear Lord, change dat man's heart, and make him a Christian.'
There are, occasionally, writers who are able to combine both story and style. They are, of course, the best. You get a spectacular view and you also get to look at it from the backseat of a chauffeur-driven Cadillac. In the field of fantasy, those writers able to combine story-as-narration with story-as-style are even rarer. But there are a few...the late Theodore Sturgeon, the early Ray Bradbury...and Richard Christian Matheson. A brilliant chip off the old block.
The purpose of a fish trap is to catch fish, and when the fish are caught the trap is forgotten. The purpose of a rabbit snare is to catch rabbits. When the rabbits are caught, the snare is forgotten. The purpose of the word is to convey ideas. When the ideas are grasped, the words are forgotten. Where can I find a man who has forgotten words? He is the one I would like to talk to.
Poetry is very crafted. You can't have too many words. It needs compression. It has to be spare, just the right number of words.
One cannot be too careful in the selection of adjectives for descriptions. Words or compounds which describe precisely, and which convey exactly the right suggestions to the mind of the reader, are essential.
When you're jumping so high for something so far up in the sky, you have to know that there is definitely someone there who can catch you, someone who knows how to catch you and when.
The disciples were absorbed in a discussion of Lao-Tzu's dictum: "Those who know, do not say; Those who say, do not know." When the master entered, they asked him what the words meant. Said the master, "Which of you knows the fragrance of a rose?" All of them indicated that they knew. Then he said, "Put it into words." All of them were silent.
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