A Quote by Dylan Thomas
The condition of the world today is such that most writers feel they cannot truthfully be "comic" about it.
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I think the novel is essentially a comic form (tragedy is for the theatre), not meaning by that full of jokes, but that it is about the absurd detail of human life, the way in which one cannot fully understand what is happening. Life is muddle and jumble and ends inconclusively, and when this is presented with great comic art the sorrows of human life can be truthfully conveyed; one is moved by the spectacle, and feels that something truthful has been told in a magic way.
The most dangerous condition for a man or a nation is when his intellectual side is more developed than his spiritual. Is that not exactly the condition of the world today?
In the 1950s we use to feel that television was taking away our comic readership; with today's exciting, powerfully visual movies I have to wonder about their effect on the kids' loyalty to the comic book medium all over again.
When I was young, I was picked on for something that today I feel is amazing. One thing about me connects millions of people around the world. And it's my skin condition - vitiligo.
I can truthfully say that I am never conscious of my age. Since I reached maturity, I have never been aware of being any older, and I can say, without equivocation or mental reservation, that I feel more alive, alert, and full of enthusiasm today than I did when I was 30 years old. I still feel my best years are ahead of me. I never think of birthdays, nor do I celebrate them. Today I can truthfully say that I am enjoying vibrant health, I don't mind telling people how old I am: I AM AGELESS!
the true art of the gods is the comic. The comic is a condescension of the divine to the world of man; it is the sublime vision, which cannot be studied, but must ever be celestially granted. In the comic the gods see their own being reflected as in a mirror, and while the tragic poet is bound by strict laws, they will allow the comic artist a freedom as unlimited as their own.
I feel like a ghost wandering in a world grown alien. I cannot cast out the old way of writing and I cannot acquire the new. I have made an intense effort to feel the musical manner of today, but it will not come to me.
I am suspicious of writers who go looking for issues to address. Writers are neither preachers nor journalists. Journalists know much more than most writers about what's going on in the world. And if you want to change things, you do journalism.
Audiences like to be made to feel that there is a world where things go right: where big emotions can happen and yet feel safe. This is why there is a constant tension in Hollywood between studios who want happy endings and writers who want to explore the human condition. There is a time and a place for both!
Africa and its people are the most written about and the least understood of all of the world's people. This condition started in the 15th and the 16th centuries with the beginning of the slave trade system. The Europeans not only colonialized most of the world, they began to colonialize information about the world and its people.
The problems in the world today are not political problems, they are not economic problems, and they are not military problems. The problems in the world today are spiritual problems. They have to do with what people believe. They have to do with our most fervently held thoughts and ideas about Life, about God, and most of all, about ourselves, and our very reason for living.
Most established comic writers have a fixed style or methodology, so what you get on page one of the first issue is about the same for the last page of the series.
When you want to transcribe an idea truthfully from the page to the screen, it is not necessarily best to be particularly literal about it. It can be hard to convince people, specifically writers, of that.
The comic-book industry today is not what it was back then, unfortunately. Kids are no longer interested in reading comic books; they've got television and the electronic games that they can bury themselves in like ostriches. They don't have to pay attention to what's going on in the world around them.
I try to be aware of what I'm concerned about, aware of how I feel about myself in the world, aware of how I feel about the issues of the day, but I guess I don't want to write essays in my head about my craft and maybe it's because I teach and talk about craft of other writers as a reader. I feel the moment I start doing that is when it's going to kill me.
Most American writers don't get asked their opinion on current affairs, whereas in Europe and England, we still do. There are writers here who are the most sophisticated commentators, but they're not asked. Like Don DeLillo, who sort of forecast most of the modern world before it happened.
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