A Quote by Dana Schutz

I'm mostly drawn to narratives that are difficult for me to visualize. — © Dana Schutz
I'm mostly drawn to narratives that are difficult for me to visualize.
I'm drawn to what I'm drawn to. I wear jeans and loafers everyday, mostly casual, but when I really turn it on, I like a classic, simple look.
I offer detailed but mostly invented narratives about the provenance of my books.
If the majority of the "spiritual market" is drawn to prerational magic and myth, how do you reach the small group who are involved in genuine, laborious, demanding, transrational spiritual practice? This is very difficult, because both markets are referred to as "spiritual," but these two camps really don't get along very well-one is mostly translative, the other is mostly transformative, and they generally disapprove of each other-so how do you put them into one magazine without alienating them both?
Narratives have the same power, I think. Some readers of my novels ask me, "Why do you understand me?". That's a huge pleasure of mine because it means that readers and I can make our narratives relative.
I would visualize things coming to me. It would just make me feel better. Visualization works if you work hard. That's the thing. You can't just visualize and go eat a sandwich.
Within neoliberal narratives, youth are mostly defined as a consumer market, a drain on the economy, or stand for trouble.
Inexperienced personal development teachers always tell you to visualize, but often in a tragically limited way. They tell you to visualize nothing but victory. But high-achievers know that it's even more important to visualize themselves at the point where they want to quit, and then see themselves working through the struggle.
The best way to look at countries on a map is like a chalk outline drawn by the police when someone dies what you are seeing with the borders are just outlines of historical crimes past warlords empires its nothing to be loyal to. Have loyalty to reason, to evidence, to ideals not to lines drawn up mostly by criminals.
It is however, difficult to make your narratives relative by yourself. A novelists' work is to provide models to make your narratives relative. If you read my novels then you may feel, "I have the same experience as this narrative", or "I have the same idea as this novel". It means that your narrative and mine sympathize, concord and resonate together.
Generally, I start by observing the existing and popular narratives in my social spheres and media, and the pressures I face in my own life experiences. As someone who is "newly" trans, I am constantly thinking about what the dominant narratives are around transness, how my work can push against these narratives, and how it already falls into these traps.
I love the energy of children. It makes me feel young. I'm just drawn to them. They're like magic to me. And they're drawn to me, the childlike part of me that never did grow up.
Adults need more complex narratives. They have their own narratives. The main characters are themselves.
I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.
The media doesn't create narratives, really. They're not that powerful. What they do is they tap into narratives that are already bubbling amongst their viewership or readership.
History is an account, mostly false, of events, mostly unimportant, which are brought about by rulers, mostly knaves, and soldiers, mostly fools.
There are so many fantastic roles, but the ones that have always drawn me to them are the loners who, for whatever reason, never quite fit in and knew it and had to find their own way. I've always been drawn to that, for some reason. I've always been drawn to that sad, isolated place, but what it produces in behavior is something else, entirely. For whatever reason, I'm drawn to these people. Essentially, I think what draws me is that they are survivors against rather considerable odds.
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