A Quote by David Shields

I want work that, possessing as thin a membrane as possible between life and art, foregrounds the question of how the writer solves being alive. — © David Shields
I want work that, possessing as thin a membrane as possible between life and art, foregrounds the question of how the writer solves being alive.
I think the membrane - I say that the membrane between life and death is perilously thin. And I do think the story of Jesus, this great mythical story, can have transforming value in our lives.
I've always felt that there's a very thin membrane between madness and alcoholism, and/or destitution and being an OK American guy in a comfortable heated apartment with meatballs and a decent Sauvignon Blanc in the fridge.
Remember, in the heyday of vitalism, people said that when all the data are in about cells and how they work, we will still know nothing about the life force - about the basic difference between being alive and not being alive.
The art is more important than the artist. The work is more important than the person who does it. You must be prepared to sacrifice all the you could possibly have, be, or do; you must be willing to go all the way for your art. If it is a question between choosing between your life and a work of art -- any work of art -- your decision is made for you.
To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy.
It was one of those early mid-life crises, really. I started asking myself, 'What is it that I want from my life?' This question kept haunting me: 'Do I want to be a lawyer who always wanted to be a writer, or do I actually want to be a writer?
Being exaltingly thin was, of course, the foundation for the visibility, the man, the adornments of this life-to-be; it was the prerequisite that made the rest of the dream possible. And since no matter how thin I got, I was frightened that I could wake up tomorrow and be fat again, the rest of the dream was forever ten or twenty pounds away.
Art is craft: all art is always and essentially a work of craft: but in the true work of art, before the craft and after it, is some essential durable core of being, which is what the craft works on, and shows, and sets free. The statue in the stone. How does the artist find that, see it, before it's visible? That is a real question.
I find there's a thin, permeable membrane between journalism and history, and though some academic historians take a dim view of it, I gather a lot of strength and professional inspiration from passing back and forth across it.
I think the first thing - if you want to be a writer - the first thing you need to do is write. Which sounds like an obvious piece of advice. But so many people have this feeling they want to be a writer and they love to read but they don't actually write very much. The main part of being a writer, though, is being profoundly alone for hours on end, uninterrupted by email or friends or children or romantic partners and really sinking into the work and writing. That's how I write. That's how writing gets done.
How could there be any question of acquiring or possessing, when the one thing needful for a man is to become - to be at last, and to die in the fullness of his being.
There is a big difference between storytelling and being alive. Those are the two things that I prefer in life - telling stories and being alive.
The principal thing is the question of how our culture views age: that old is ugly Just think of Rodin, how he dealt with people of all ages. I have the feeling that I'm alive, I have a body I can make it extremely interesting. That keeps me alive and vital. It's a kind of process of energizing myself by my belief that the classical tradition of art that we've inherited from the Greeks is a load of bullshit.
The supreme question about a work of art is out of how deep a life does it spring.
I would want to affirm how rare and magnificent and messy it is to be alive, how there is really nothing between us and life, though so many things get in the way, and how our heart is the strongest muscle and resource we have.
There is a deep question whether the possible meanings that emerge from an effort to explain the experience of art may not mask the real meanings of a work of art.
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