A Quote by Edith Wharton
To visit Morocco is still like turning the pages of some illuminated Persian manuscript all embroidered with bright shapes and subtle lines.
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I outline fairly extensively because I'm usually dealing with real events. I don't need to give myself as much information as I used to, but I still like to have two pages of outline for every projected 100 pages of manuscript.
but paper and ink have conjuring abilities of their own. arrangements of lines and shapes, of letters and words on a series of pages make a world we can dwell and travel in.
Regular geometry, the geometry of Euclid, is concerned with shapes which are smooth, except perhaps for corners and lines, special lines which are singularities, but some shapes in nature are so complicated that they are equally complicated at the big scale and come closer and closer and they don't become any less complicated.
The Persian's mind, like his illuminated manuscripts, does not deal in perspective: two thousand years, if he happens to know anything about them, are as exciting as the day before yesterday.
I like when the manuscript keeps its authentic style and form, so even if I have accepted some advice from editors, I don't really want to adapt the manuscript to the needs and expectations of the readers.
They were all dressed in their finest as though life really were some magical stage play in which every moment ought to be illuminated with its own bright spotlight.
Some say that gleams of a remoter world Visit the soul in sleep ? that death is slumber, And that its shapes the busy thoughts outnumber Of those who wake and live.
[Francisco] Franco's army was mainly Moorish. They were recruiting people from Morocco to come to Spain. There was an uprising in Morocco at the time led by Abd el-Krim (whose tactics influenced Ho Chi Minh and Che Guevara) that sought independence for Morocco and Northern Africa.
What I always try to do in all my books is to make the stories such that if you don't agree with me politically or you're not interested in the thematics, the story will still keep you turning the pages.
If you look at an illuminated manuscript, even today, it just blows your mind. For them, without all the clutter and inputs that we have, it must have been even more extraordinary.
I was Persian-American, but I hated bringing Persian food to school. I just didn't want to stand out in that way. I wanted to be like everybody else.
Etching will suggest subtle variations of tone, the most delicate shadings, all with black lines, which, as far as lines go, are unsurpassed for sheer beauty.
The Rift, which was well over a thousand pages of manuscript, took two years.
If you travel in countries like Morocco, and I say that because I have just come from Morocco, if people are shouting at each other in an argument, violence is not going to follow. That would be just so far removed.
The viewer who sees only a study in the picture of the glass jug illuminated from behind fails to appreciate the masterly composition, the noble purity of the lines, the rich plasticity of the form and consequently also the poetry and beauty of the picture, and still more important, its specifically photographic qualities.
As a reader, I happen to like turning pages and wanting to know what happens next.
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