A Quote by Daniel Lopatin
I think, if you can only talk about your stuff in a jargonistic way, you're not as smart as you think. You're alienating people who deserve to have a conversation, or a place in the conversation. If you take the complete inverse and are staunchly anti-intellectual, then I think there's a certain amount of resentfulness in that. There's something about that standpoint that feels a little bit insecure.
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When you watch the way some of the commentators talk about this, it makes it seem as if people are crossing the border every second. How much money have we spent on the border? Why? And who's really exploiting whom?" And then he gets quiet. But I think just airing these out and having a face-to-face conversation about it helps both of us internalize what the conversation is really about. I don't think we have that in the public sphere.
I think women are deeply interested in a conversation around fertility. It's not a conversation just for one age group of women, a conversation if you're post 30 or post 35. This [is] conversation about reproduction, about taking your own power with you and deciding for yourself.
The war is definitely in the background, only referred to in radio news blips and conversation. I think, ultimately, this film is about the choices these guys are faced with. In that way, I think this is a more personal story about their friendship, about the reaction that they have when they're essentially faced with death, to a certain degree.
I think when people talk about race relations in America, they talk about African-American and white people. Asians are not often brought into the conversation. But there's a historical legacy of issues between them. It's hard to be like, 'What about us?' But we are a little underrepresented.
One can say that the disaffection is still a lingering naiveté about, not the place of poetry in the world, but - how to say this - the moral and intellectual presence of poets in the world. And while this may seem an old conversation to many poets who roll their eyes and say, "Here we go again about the function of poetry," I think that conversation, about poetry as an engaged art in a world that is full of regression or still lacking in progress, is still really not well-developed. It's almost an avoided conversation.
People love having a home. People love going to their house and sleeping in their bedroom and having a conversation around the dinner table. You don't particularly think of that conversation as a private conversation; you just think of it as something that happened in your home.
Today, for good or ill, people are thinking about many social problems from the standpoint of their own kitchen tables. I think the way to begin a conversation with people about what's going on is to address their daily experiences, and what their fears and frustrations, as well as their exhilarations, are.
I think it's a false distinction to say that conversation and composition are separate. Because even as we speak, I'm seeing. Every interview is different, and I'm finding new ways to talk about ancient preoccupations. And I sometimes come on something that's immensely helpful and valuable. Plus I like the sensation of conversation.
We should be able to have a conversation about immigration; we should be able to have a conversation about what skills we want to have in the U.K. and whether we need to go out of the U.K. in order to get them to boost our economy, and I don't think we should have a situation where we can't talk about it.
I don't know anything that gives me greater pleasure, or profit either, than talking or listening to philosophy. But when it comes to ordinary conversation, such as the stuff you talk about financiers and the money market, well, I find it pretty tiresome personally, and I feel sorry that my friends should think they're being very busy when they're really doing absolutely nothing. Of course, I know your idea of me: you think I'm just a poor unfortunate, and I shouldn't wonder if your right. But then I dont THINK that you're unfortunate - I know you are.
Class is something that I think seriously about and try to organise my politics around. I think there are lots of novels that don't really engage with questions of class at all, and they get less conversation about issues of social privilege than I do. But it's better to try and talk about it and maybe fail.
The impositions that this government is trying to put on now, it's the typical death by 1,000 cuts. We'll take a little bit here, we'll take a little bit here, we'll take a little bit here. And it doesn't end the conversations for 25, 50 years. It starts the conversation again the next day what they're looking to take back.And really it's about freedoms.
I think I am a smart aleck because I grew up close enough to Boston, and most people from Massachusetts talk fast, and I have a little bit of a wiseacre, and I think I'm a little bit like that.
Sometimes when you are trying not to think about something it keeps popping back in your head you can't help it you think about it and think about it and think about it until your brain feels like a squashed pea.
I think I can get a little passionate about things that I believe in and maybe that can be a little intense for people. And I think a lot of that stuff comes out of the need of wanting to belong, and being insecure and uncomfortable.
To think of criticism as a conversation is to think of it as a social act, something that puts you in touch with other people who may think the way you do.
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