A Quote by Edward Abbey
Most of what we call the classics of world literature suggest artifacts in a wax museum. We have to hire and pay professors to get them read and talked about.
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Professors of classics - not even a professor of English - professors of classics, they're something sacred; it's almost like being a priest.
I love the Museum of the Moving Image, and I like the idea of bringing artifacts of the cinema into a museum.
It is a fact that the classics of Yiddish literature are also the classics of the modern Hebrew literature.
What I think about when I frequent the Museum of Natural History, the Metropolitan [Museum of Art], and I look at these artifacts that are taken out of context and how we're forced to view them as objects, as relics, as sculpture- static. But what's interesting is what it allows me to do in my head in terms of imagining what the possibilities are or imagining the role in which they played within a particular culture which I'm fascinated by.
We're at an interesting phase of Asian and Asian-American writing, where we might succeed in having readers look at us as creative individuals who write with fury and fire about the world, and in new ways, without having them say things like "I read a really good Indian book," or "That Malaysian fellow writes very well." So I hope by identifying as Indian I can get people who don't usually read "ethnic" or "Indian" literature to read that literature and enjoy it.
The interesting thing was we never talked about pottery. Bernard [Leach] talked about social issues; he talked about the world political situation, he talked about the economy, he talked about all kinds of things.
In science, read by preference the newest works. In literature, read the oldest. The classics are always modern.
Professors of literature, who for the most part are genteel but mediocre men, can make but a poor defense of their profession, and the professors of science, who are frequently men of great intelligence but of limited interests and education
I still remember the time when I visited the wax museum in London. While there were statues of many sports personalities, including that of Sachin Tendulkar, I didn't see a wax figure of any hockey player. I was a little disappointed at that time, and I hoped that one day, at least in India, someone would make a wax statue of a hockey player.
From the simplest lyric to the most complex novel and densest drama, literature is asking us to pay attention. Pay attention to the frog. Pay attention to the west wind. Pay attention to the boy on the raft, the lady in the tower, the old man on the train. In sum, pay attention to the world and all that dwells therein and thereby learn at last to pay attention to yourself and all that dwells therein.
I personally have never trusted museums. ... It is because museums, broadly speaking, live off of the art and artifacts of others, often art and artifacts that have been obtained by dubious means. But they also manipulate whatever it is they present to the public; hence, until Judy Chicago, in the 1970s ... few women artists were hung in any major museum. Indian artists? Artifacts only, please. Black artists? Something musical, maybe? And so forth.
I love the Russian classics very much, the Russian classical literature. But I also read modern literature. As far as Russian literature is concerned, I am very fond of Tolstoy and Chekhov, and I also enjoy reading Gogol very much.
If I'm in the position where I get to hire someone, where I get to decide who joins me on tour, then I am mindful about that, and I try to suggest women that I know who I think deserve more exposure.
Most of the really good literature I've read in my life was political, meaning it was important - about something going on in the history of the world - or contemporary.
I have very close friends who are very devout Catholics, and I talked to them before the 'Da Vinci Code,' and it was very difficult for them, but I talked to them before 'Angels and Demons,' and they said the scandal, abuse of power and violence was part of church history, which you can read about in the Vatican bookstore.
When I decided to go to art school, it wasn't necessarily something I thought I needed. No one talked about graduate school when I was an undergrad. I went on to a residency at the Studio Museum in Harlem, and that transition from Yale to the Studio Museum, that was the real beginning of my professional career.
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