A Quote by Geoffrey Dutton

The style, often found difficult in the earlier books, is just as individual but more perfectly modulated to experience, and the dialogue is much closer to contemporary idiom, especially when those cadences have been masterfully twisted to satirical ends.
For many American-Jewish writers, the dominant motifs have been cultural, secular, sometimes comic, often satirical. Writing about the religious component of Judaism, I found my own themes independent of the New York experience and the immigrant experience.
I don't believe, in the end, that there is any such thing as no style. Even a very neutral, plain style, one that doesn't use colloquialisms, lyrical flourishes, heavy supplies of metaphor, etc., is a style, and it becomes a writer's characteristic style just as much as a thicker, richer deployment of idiom and vocabulary.
The earlier stuff is more like "this is happening to me," but now there are more songs that are accusatory or something, or more declaratory. I don't know where that voice comes from, like, "I've been down the road, we've been there and done that." That's sort of like a tougher style, or a less vulnerable style.
Rejoice with those who rejoice." I have found that difficult too often. I was much better at weeping with those who weep.
I've never been interested in the convention of dialogue that facilitates narrative-it's always sort of bored me. I find myself zoning out just listening to cadences of voices and tonality and this sort of thing.
Nowadays, individual style isn't just much more understood, but much more appreciated; that there's not one forced look that we're all supposed to adhere to, and everyone can find their place that way.
Writing those books ['Beauty' and 'Style']was really eye-opening, as you realize just how much goes into beauty and fashion, and also how much I've learned over the years. I think both books are essential, as they don't really teach you one particular look that will go out of style next season, but rather tools and tricks you can use over the years.
I never recreate dialogue. I have often been asked by people, 'You must have made this up because this is dialogue, right?' Anything in my books that is in quotes comes from some kind of living historical document: a letter, a memoir, a court transcript, a newspaper interview.
It is a mistake to confound strangeness with mystery. The most commonplace crime is often the most mysterious because it presents no new or special features from which deductions may be drawn. This murder would have been infinitely more difficult to unravel had the body of the victim been simply found lying in the roadway without any of those outré and sensational accompaniments which have rendered it remarkable. These strange details, far from making the case more difficult, have really had the effect of making it less so.
Correction of Earlier Entry: 8/01/12We read over the shoulders of giants; books place us in dialogue not just with an author but with other readers.
No other work has more often been blamed for more heinous crimes by the perpetrators of such crimes. The Bible has been named as the instigating or justifying factor for many individual and mass crimes, ranging from the religious wars, inquisitions, witch burnings, and pogroms of earlier eras to systematic child abuse and ritual murders today.
'Death Sentence' really is a throwback to the '70s style revenge drama with moments of action. It's like a contemporary 'Death Wish' with a much more thriller style storyline, but the action scenes I shot very much in the style of '70s films like 'The French Connection.'
People are often surprised that I am so upbeat. I'm always hearing, 'You're so light and funny, and your books are so dark and twisted.' There's a dichotomy. I like books that are dark and creepy. I don't control it - it's just what I gravitate toward.
Civilization enables us constantly to profit from knowledge which we individually do not possess and because each individual's use of his particular knowledge may serve to assist others unknown to him in achieving their ends that men as members of civilized society can pursue their individual ends so much more successfully than they could alone.
For 'City of Ghosts,' I really didn't speak any Arabic. It obviously made it more difficult, but I also found it to be an advantage while shooting. It allowed me to focus on the emotion of the scene as opposed to just chasing dialogue.
Ultimately, I want a peak experience in reading, and that is sometimes difficult to find in contemporary fiction. I'm not interested in books that are just clever and well executed; polish doesn't impress me, and I don't care about a merely capable sentence. Life is short; I want a confrontation with high art. I want soul.
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