A Quote by Gary Shteyngart
I always think that good writers should be growing up on the brink of death - it really lets them see mortality very clearly.
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I'm very good at breaking up with people. Very good. It requires a lot of skill, but what you do is you tell them the truth of why you are breaking up with them, and after that, you somehow compensate with other things. If you have loved someone, I think that somehow they should always be a part of your life. I really do.
Once, at a seminar, I heard a Westernized lama say that a meditator's state of mind should be like that of a hotel doorman. A doorman lets the guests in, but he doesn't follow them up to their rooms. He lets them out, but he doesn't walk into the street with them to their next appointment. He greets them all, then lets them go on about their business. Meditation is, in its initial stages, simply accustoming oneself to letting thoughts come and go without grasping at their sleeves or putting up a velvet rope to keep them out.
Inside me, I think that an animal goes through a lot of pain in the whole cycle of death in the slaughterhouse; just living to be killed. That whole situation is really messed up for animals, growing up in those little cooped-up pens. I just don't think its worth eating that animal. I think animals should be free. There's so much other food out there that doesn't have to involve you in that cycle of pain and death.
..few writers like other writers' works. The only time they like them is when they are dead or if they have been for a long time. Writers only like to sniff their own turds. I am one of those. I don't even like to talk to writers, look at them or worse, listen to them. And the worst is to drink with them, they slobber all over themselves, really look piteous, look like they are searching for the wing of the mother. I'd rather think about death than about other writers. Far more pleasant.
I think the meaning of the universe is bound up with the egg. ... I am fed up with the meaning of the universe. Everything starts in the egg and ends in death. I think it's called 'the heartbreak at the heart of things.' But then perhaps our very mortality is an egg and at the moment of death our souls will emerge like damp chicks.
I think that it's really incredible, growing up and being able to have all these people who really look up to the work that I do. It's really cool that I have such awesome fans, and I can't thank them enough. I get on my Twitter and Facebook every day, and I see such awesome things.
The similarity between Van Gogh, Haiku poetry, and good photography is the concern for mortality. That things are very fleeting, that there are people who are more sensitive to death than others. The threat of time is of great concern to them. And the camera is a very appropriate instrument for many.
I've always liked monster movies and I've always been fascinated by - again, growing up in a culture where death was looked upon as a dark subject and living so close to Mexico where you see the Day of the Dead with the skeletons and it's all humor and music and dancing and a celebration of life in a way. That always felt more of a positive approach to things. I think I always responded to that more than this dark, unspoken cloud in the environment I grew up in.
The woe of mortality makes humans God-like. It is because we know that we must die that we are so busy making life. It is because we are aware of mortality that we preserve the past and create the future. Mortality is ours without asking--but immortality is something we must build ourselves. Immortality is not a mere absence of death; it is defiance and denial of death. It is 'meaningful' only because there is death, that implacable reality which is to be defied.
I think one of the things the writers' festival does that is very good is that it brings writers from around the world and around the country and locally and puts them all in the one spot together, and that's what a lot of the world's great writers' festivals do.
I certainly think it's very important that writers as citizens - not necessarily as writers, but just as ordinary citizens - should talk about things that matter to them.
I certainly think its very important that writers as citizens - not necessarily as writers, but just as ordinary citizens - should talk about things that matter to them.
I was terribly shy when I was growing up, I really wasn't confident with other people and I think I was always afraid of up or not being this very cool, amazing person that I wanted to be.
Real writers-that is, capital W Writers-rarely make much money. Their biggest reward is the occasional reader's response.... Commentators-in-print voicing big fat opinions-you might call us small w writers-get considerably more feedback than Writers. The letters I personally find most flattering are not the very rare ones that speak well of my editorials, but the occasional reader who wants to know who writes them. I always happily assume the letter-writers is implying that the editorials are so good that I couldn't have written them myself.
You can find episodes like the flu epidemic or war times when mortality rates go up, but sustained increases in mortality for any major group in any society are really quite rare. It's an indication that something is very wrong.
As a kid growing up, this was sometimes a little bit intimidating to have a mom who was always, like, speaking up and always saying something that might be kind of controversial . . . . The thing I think that we got out of that that was really good was, like, we weren't afraid to make waves.
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