A Quote by Donna J. Haraway
Cyborg writing must not be about the Fall, the imagination of a once-upon-a-time wholeness before language, before writing, before Man. Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other...
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When people speak to me of the torment of writing, I can think only of what it was like before I wrote: once writing meant writing and not thinking about writing, I knew nothing of any torment.
England gave me a language and literature, the basis of what I am as a writer, but when I started writing more directly about my own experience, it wasn't England so much as what went before.
I feel very much a part of what I'm writing about, and I'm writing about things that concern me on a daily basis. I'm not really interested in writing musical diaries, if you know what I mean.
Before there was a Ronda Rousey, there was a Gina Carano and Cris Cyborg. They finally fought, and we found out who was the baddest woman on the planet, and that was Cris Cyborg. When she hits people, I'm like, 'Whoo!'
After I quit being a lawyer in '95, I was having a lot of trouble writing. Then I read somewhere that Willa Cather read a chapter of the Bible every day before she started work. I thought, 'Okay, I'll try it.' Before each writing session, I started to read the Bible like a writer, thinking about language, character, and themes.
Writing is the basis of all, because creating something that didn't even exist before is like taking an empty canvass. It is a wonderful thing to make something out of nothing. You've got an empty page, you've got an idea, and then you start typing and that is the most thrilling thing of all. And then if it becomes a movie or something else that's a plus, but the original writing of it is what's very exciting.
I actually learned about Cyborg through the cartoon shows, and I think that's how most people learn about Cyborg.
That's one thing brands are understanding is, I'm the blogger who's not writing about fashion. I'm not writing about beauty. I'm not writing about gossip. I'm not writing about politics. I'm writing about all of that. I'm the person they can come to if they just want to reach people who care and have their fingers on pop culture.
I carry my thoughts about with me for a long time... before writing them down... once I have grasped a theme. I shall not forget it even years later. I change many things, discard others, and try again and again until I am satisfied; then, in my head... [the work] rises, it grows, I hear and see the image n front of me from every angle... and only the labor of writing it down remains... I turn my ideas into tones that resound, roar, and rage until at last they stand before me in the form of notes.
For me, writing is a way of finding out about things I didn't know before I began writing.
Something may have happened before, and yet this thing that happened just after may be so important that you don't even know about the thing that happened before and when you tell your story to yourself, or to someone else, it's going to be told not on the basis necessarily of the time course, but rather on the basis of how it was valued by you.
There are a number of things that I'm trying to get into the books. There's a meta-fictional aspect, if I may use that pretentious word, to writing anything. You're writing in the shadow of all the people that have gone before and, in a way, you're having a dialogue with them. As someone who's read J.R. Tolkien and Robert E. Howard and all the great fantasists before, this is almost my answer to them.
I'm always writing. A friend of mine once said, 'You avoid re-writing by writing.' Which is kind of a good point, because re-writing seems to be mostly about craft, and writing is just, like, getting out your passion on a piece of paper.
...a story should be like a roller coaster. That is to say before writing a really cruel scene, I have to lift the people's spirits, for example, with a fun scene... Before writing a scene of pure despair, we must go through scenes of hope. And indeed, when I write, all of this amuses me very much.
Before I ever heard about '60 Minutes,' I had been a writer, a columnist for 'Life' magazine and for 'Newsweek' - that was about as high as you could get in column writing. I care about my writing. I'm not a quack-quack TV journalist.
When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"
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