A Quote by Colson Whitehead
A lot of my books have started with an abstract premise.
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My most successful books, the ones that I feel the strongest about, are the ones that started with a premise that for me was deeply emotional.
I was an abstract expressionist before I had seen any abstract expressionist paintings. I started when I was a kid and continued just doing abstract stuff all through high school.
The premise of Nossiter in 'Mondovino' would have been a lot more accurate when I started writing about wine in 1978 than when the movie was made in 2003. When I started, I was enormously critical of California wines, and I thought the entire wine industry was on a real slippery slope.
The people who review my books, generally, are kind of youngish culture writers who aspire to write books, or write opinion pieces about what they think of Neil Young, or why they quit watching ER or whatever. And because of that, I think there's a lot of people who write about my books with the premise of, "Why this guy? Why not me?"
When people come and invest in India, they invest on a certain premise, and the fact that the very premise can change worries them a lot.
Everything has a purpose or premise. Every second of our life has its own premise, whether or not we are conscious of it at the time. That premise may be as simple as breathing or as complex as a vital emotional decision, but it is always there.
When I started as a White House correspondent, there was a lot of criticism from guys saying, 'She focuses too much on the person but not enough on policy.' I never understood that argument at all. I just didn't agree with the premise.
I started my work on a lot of the 'Batman' books. So I've worked on a 'Batman,' 'Spider-Man,' some of the 'X-Men' books.
So in prison basically is when I started to build a good relationship with God and I started praying a lot. I read the bible a lot so I started to get a lot of knowledge about life.
As a kid, I lived almost entirely inside books, and eventually the books started returning the favor. A lot of my internal world feels like an anthology, or a library. It's eclectic and disorganized, but I can browse in it, and that hugely shapes both what and how I write.
As far as Marx's analysis of capitalism, there's a lot of very useful ideas in it, but he's developing an abstract model of 19th century capitalism. It's abstract and it's changed.
A lot of my work is about what's abstract and what's pictorial. Is it bubblegum, or is it an abstract painting using bubblegum? The energy comes from walking that line and watching things dip this way and that.
What I did do a lot as a child was read, and I particularly remember reading all the 'Hardy Boys' books, a set of history books called the 'Landmark Books,' and a series of science books called the 'All About Books.'
When the idea of 'We' came in, it started as a 'WeBlank: WeWork, WeLive, WeSleep, WeEat.' That was the premise at the very start.
Whoever, to whatever purpose or extent, initiates the use of force, is a killer acting on the premise of death in a manner wider than murder: the premise of destroying man's capacity to live.
I can never fathom it when people say things like "I can't understand abstract art!" Or: "Abstract art is junk!" Or: "Abstract art isn't as valid as realism!"
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