A Quote by Dave Eggers

Recently, I've discovered Radiohead and find them to be quite good. So clearly, I'm some kind of musical retard. (Jonathan Ames, Middle-American Gothic) — © Dave Eggers
Recently, I've discovered Radiohead and find them to be quite good. So clearly, I'm some kind of musical retard. (Jonathan Ames, Middle-American Gothic)
My Less Than Secret Life' by Jonathan Ames was a revelation, as shocking as it is funny.
It seems to me that the American popular song, growing out of American folk music, is the basis of the American musical theater… it is quite legitimate to use the form of the popular song and gradually fill it out with new musical content.
I discovered myself in the back-and-forth and in the hyphenated Arab-American way, and one of the things that I discovered was that I really didn't fit in anywhere. So in the US, I was considered an Arab - because I grew up in small-town Ohio - and in the Middle East, I was considered the American.
The statement that 'God is dead' comes from Nietzsche and has recently been trumpeted abroad by some German and American theologians. But the good Lord has not died of this; He who dwells in the heaven laughs at them.
It's interesting, once I have convinced people that, yes, I have a sister with a mental disability, the retard jokes really dry up, so I'm not sure how much retard humor is really going on out there, but I imagine there's a lot because it's a pretty safe group to make fun of. It's not like the Retards of America are gonna rise up and organize a protest. They're not gonna write letters. They only just recently got the Supreme Court to stop executing them.
Austin - it's a stimulating center. In this conversation, the very first two questions were talking about my kind of wanderlust and my adventures. Some people at my time in life travel forever. I don't know whether it's the British or the Australians - whoever it is, you can kind of stagger into some sort of far-off bastion in the middle of nowhere, and you'll find someone from Britain or someone from Australia or maybe an American.
Forget about musical credibility. I think, unless you're Radiohead or whatever, it's pointless striving for that. What I would like is some respect.
I tried singing. I tried playing a musical instrument. I really wanted to be a musician, but I never could quite pull that off. I liked entertaining, but I was always drawn to some kind of technical work - some kind of honest labor.
My reaction to Radiohead isn't as simple as jealousy. Jealousy just burns; Radiohead infuriate me. But if it were only that, I wouldn't go back and listen to those records again and again. Listening to Radiohead makes me fell like I'm a Salieri to their Mozart. Yorke's lyrics make me want to give up. I could never in my wildest dreams find something as beautiful as they find for a single song - let alone album after album.
These Greek capitals, black with age, and quite deeply graven in the stone, with I know not what signs peculiar to Gothic calligraphy imprinted upon their forms and upon their attitudes, as though with the purpose of revealing that it had been a hand of the Middle Ages which had inscribed them there, and especially the fatal and melancholy meaning contained in them, struck the author deeply.
So many new things have been discovered in the 20th century that now, at the end of the century, we need some kind of synthesis, some musical language which will allow us just to write music.
With 'The Keep,' I began with a theory about pitting the isolated disconnection of the gothic realm against present-day hyperconnectedness. I emerged feeling that the gothic genre is all about hyperconnectedness - the possibility of disembodied communication - and that we now live in a kind of permanently gothic state.
Musical theater is an American genre. It started really, in America, as a combination of jazz and operetta; most of the great musical theater writers in the golden era are American. I think that to do a musical is a very American thing to me.
A friend of mine pointed out to me, "Why do you separate your writing and your music?" I got (writers) Rick Moody and Jonathan Ames to do the first one, and it just kind of gathered steam; then NPR picked it up. It is a nice way for me to marry both sides of my career, a move that's probably culminated in me dropping the name John Wesley Harding.
I played Jonathan Livingston Seagull in a musical version of 'Jonathan Livingston Seagull' in Austin, TX. It was pretty special.
I was with some Vietnamese recently, and some of them were smoking two cigarettes at the same time. That's the kind of customers we need!
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