A Quote by Daniel O'Sullivan
It is the shared experience - [although] you're the conduit of the sound, the recipient is also in some way the author of the work, because if they weren't the author of the work they wouldn't be able to recognise it as an experience, you could argue. The more distance you can put between yourself and having any kind of objective the more likely it is to appear.
Related Quotes
I can't inhabit my characters until I know what kind of work they do. This requires research because my jobs for the last decade have been author and professor, and I'd like to spare the world more author or professor novels.
Every time you have a big blast-out experience you think that's the ultimate-everything, and of course it isn't, although you can get hints. The key however, is not to take those hint experiences to be the ultimate experience. There always needs to be a balance. For example, when you find something, by having some experience, you always want to keep looking because there could be more to it.
People would much rather argue their own visions and conceptions about a book than engage in a dialogue with the author, because the author could always trump you with, 'I wrote it.'
There is no author or legislator of the moral law. It is simply valid in itself in the nature or essence of things. We become autonomous only when we obey it, because then our will aligns itself with the objectively valid law, and our choice follows the same law as that we give ourselves. We can think of rational faculty (or the idea - the pure rational concept, not exhibitable in experience) as the legislator or author of the law because reason recognizes an objective standard, and to that extent is already aligned with objective moral truth.
A sense of that kind of narrative movement that we experience online could have been in my mind easily, though not consciously. I do rely so much on my unconscious, the way I write my stuff the way I do. I let my unconscious work. I have better ideas that way and more interesting work.
If you don't put 99 percent of yourself into the writing, there will be no publishing career. There's the writer and there's the author. The author - you don't ever think about the author. Just think about the writer. So my advice would be, find a way to not care - easier said than done.
If your educe sculpture to the flat plane of the temporal experience of the work. (...) the experience of the work is inseparable from the place in which the work resides. Apart from that condition, any experience of the work is a deception.
The meaning of a work is not what the author had in mind at some point, nor is it simply a property of the text or the experience of a reader. Meaning is an inescapable notion because it is not something simple or simply determined. It is simultaneously an experience of a subject and a property of a text. It is both what we understand and what in the text we try to understand.
I do not understand how deeply people seem to like my work - but I love that people feel I have helped them through hardships, and also have shared my experience of living a more spiritual and present life. It's so great to be able to make people laugh, because this is so often how we get our selves back.
If you let some time go by before considering work that you have done, you move toward a more objective position in judging it. The pleasure of the subjective, physical experience in the world is a more distant memory and less influential.
I have never admitted the right of an elderly author to alter the work of a young author, even when the young author happens to be his former self.
There's something about looking at Super 8 films that is so evocative. You could argue it's the resolution of the film somehow because they aren't crystal clear and perfect,so there is a kind of gauzy layer between you and what you see. You could argue it's the silence of them. You could say it's the sound of the projector that creates a moodiness. But there's something about looking at analog movies that's infinitely more powerful than digital.
This fact was something I also learned from this first novel that I needed personal experience to invent, to fantasize, to create fiction, but at the same time I needed some distance, some perspective on this experience in order to feel free enough to manipulate it and to transform it into fiction. If the experience is very close, I feel inhibited. I have never been able to write fiction about something that has happened to me recently. If the closeness of the real reality, of living reality, is to have a persuasive effect on my imagination, I need a distance, a distance in time and in space.
Here's what I think: the best author photo ever taken is the author photo of you holding your extra-large engulfing rabbit and looking straight at the camera. I never hope to have one so good. The only way I guess it could be any more literary is if the rabbit were smoking a Gauloise and drinking a tiny cup of coffee.
When you haven't met someone, regardless of whether they're an author or not, when you're taking their work, and you are in some way filtering it or interpreting it, of course there's potential for them to feel that you have, in some way, not lived up to what it could have been.
I'm a huge lover of going to the theater and having that experience of people in the room. Any time you go to an experience like this, you hear it in a different way because sound systems are different.
