A Quote by Fiona McIntosh

Readers want to have the confidence that you understand the era in which the book is set, so for 'The Perfumer's Secret,' I needed to know everything about the First World War from a French perspective. I had to understand those people and that town in 1914.
I didn't know enough as a writer to understand why I needed to do this, but I understood in a very gut way that I could not entertain those thoughts of pleasing people and write this book - that it would be a very different book. Without really sort of investigating that instinct, which I'm glad for, I just made a conscious decision to put blinders on and not think about anything and put it all in. And I did. I put everything in. I had to look at the whole picture to see what I needed.
But sometimes you can't figure everything out because you can't ever really understand other people. You can't understand why they do what they do. You just have to accept a little mystery, Ben. People are mysterious, the world is mysterious. You can't know everything. You're not supposed to. This isn't a history book. It's just the world. It's a messy place.
I understand why people are discouraged about Iraq. I can understand that. We live in a, you know, world in which people hope things happen quickly. And this is a situation where things don't happen quickly because there's, you know, a very tough group of people using tactics - mainly the killing of innocent people - to achieve their objective, and they're skillful about how they do this. And they also know the impact of what it means on the consciousness of those of us who live in the free world. They know that.
You cannot invent an algorithm that is as good at recommending books as a good bookseller, and that's the secret weapon of the bookstore - is that no algorithm will ever understand readers the way that other readers can understand readers.
I want to be liked... No, I want to be more than just liked... I want people to say, "that Charlie Brown is a great guy!" And when people are at parties, I want them to look for me, and when I finally arrive, I want them to say, "here comes good ol' Charlie Brown... Now everything will be all right!" I want to be a special person... I want to be needed... It's kind of hard to explain... Do you understand? I mean, do you know what I'm talking about?" "Sure, I understand perfectly..." "Well?" "Forget it! Five cents, please!
A poet articulating the dreads and horrors of our time is necessary in order to make readers understand what is happening, really understand it, not just know about it but feel it: and should be accompanied by a willingness on the part of those who write it to take additional action towards stopping the great miseries which they record.
Readers no longer need novelists to tell us what it's like to cross the world on a ship or fight a war. In the twenty-first century, we get that information in other ways. The thing that's still a mystery to us is the human heart. What we want is to understand people, what they're doing, and why they're doing it.
In one sense, I have always felt glad to have had the war [World War II] in my childhood, because, as a result, nothing that has happened in the world since then has ever seemed quite so bad. On the other hand, I never entirely got over my feeling of being cheated when the promised era of peace in a wonderful "post-war world" failed to materialize. I could not understand how, after all that, people could ever even think of fighting again. And I still can't.
If you don't understand weapons you don't understand fighting. If you don't understand fighting you don't understand war. If you don't understand war you don't understand history. And if you don't understand history you might as well live with your head in a sack.
You don't want to know the Truth, you want to know the truth as you understand it. This is the greatest barrier to your enlightenment. You think you already know the truth! You think you already understand how it is. So you agree with everything you see or hear or read that falls into the paradigm of your understanding, and reject everything which does not.
I have a tendency to want to understand everything people say and everything I hear, both at work and outside, even at a distance, even if it’s one of the innumerable languages I don’t know, even if it’s in an indistinguishable murmur or imperceptible whisper, even if it would be better that I didn’t understand and what’s said is not intended for my ears or is said precisely so I won’t understand it.
With a book called 'Keeping Score,' I really did want to write a book about the Korean War, because I felt that it is the least understood war in the American cultural imagination. So I set out with the idea that Americans didn't know much about the Korean War and that I was going to try to fix a tiny bit of that.
The first war zone was declared by Great Britain. She gave us and the world notice of it on the 4th day of November, 1914. The zone became effective Nov. 5, 1914.
I'm keen to do as little or as much reading and watching as the director may advise, and often off that you kind of stem into other things that you find of influence, perhaps the things that you're watching. It's a good excuse to get to know a new profession, or a new approach, or a new era. It's about authenticity. It's about having the confidence to really feel that you're saturated and know the world you're about to step into and understand the person you're about to be.
I never am really satisfied that I understand anything; because, understand it well as I may, my comprehension can only be an infinitesimal fraction of all I want to understand about the many connections and relations which occur to me, how the matter in question was first thought of or arrived at, etc., etc.
I don't set out to make movies about famous people, though I guess I have. I think what I set out to do is to try to understand things that we don't understand. Or to find out what is blocking us from understanding things we should understand.
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