A Quote by Glenn Ligon
So much of my work has been about disappearing.
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One of the things I love most about acting is just disappearing in the role, as much as I can. I think that's one of the things that intrigued me about it.
I love when you get to work with people who care about the project as much as you do because then, you're altogether in. I feel like I've been lucky so far to have the chance to work with people who work that way.
I have a novel that I can write. It's about three soldiers from Somalia. Some babies have been disappearing up on 144th Street, and I speculate later on what happened to them and how they might have been got back. These guys are dead, all three, and they have a chance in the afterlife to do something they should have done when they were alive.
Manufacturing and other unskilled professions that were union jobs, that allowed people to live a middle-class life, are disappearing both because unions are disappearing and because of the global nature of the economy.
Food is also about pleasure, about community, about family and spirituality, about our relationship to the natural world, and about expressing our identity. As long as humans have been taking meals together, eating has been as much about culture as it has been about biology.
You already barely exist. Disappearing entirely won't be that much of a change.
Writing a novel was like I had some Play-Doh to work with and could just keep working with it - doing a million drafts and things changing radically and characters appearing and disappearing and solving mysteries: Why is this thing here? Should I just take that away? And then realizing, no, that is there, in fact, because that is the key to this. I love that sort of detective work, keeping the faith alive until all the questions have been sleuthed out.
Once you have started seeing the beauty of life, ugliness starts disappearing. If you start looking at life with joy, sadness starts disappearing. You cannot have heaven and hell together, you can have only one. It is your choice.
The public interest always surprises me. I come to work in these rooms with no windows. At night I go home. I just live my life. I guess I just don't think much about whether people are going to watch. Most of my friends don't know much about what I do, and we don't talk about it. I have a different life away from work. Which is fine, because my work can get pretty intense.
We need a growing middle class, not one that has been disappearing for 40 years. We need a vibrant one person-one vote democracy, not one which is dominated by billionaire campaign contributors. It's time for a political revolution. It's time to make our government work for all of us, and not just the 1%.
We aren't defined by our work. People think if you over-identify with your work, then that must mean you're giving over too much of yourself to it, that there's something wrong with that. We're trained to believe in things like work-life balance. So much work is tending towards service. It's very much about creating experiences rather than products, and it makes those boundaries between life and work very slippery.
I've been really lucky in that I've been able to work so much, and pretty much everything I've done has been really great fun.
Unions have been the best anti-poverty program that actually worked and did not cost the government a dime. But as unions grow smaller- not stronger- our ability to act as an economic mechanism to distribute the gains of our work and raise all workers' wages and benefits up is disappearing.
In the beginning this was just an idea. Then it was a short story. Then it was a script. Each step was pretty exciting to see people come on board to support the project. It's gratifying to know that more people are seeing my work in this form than my work as a playwright. And it's been fun to hear people's response to seeing it. I've been having some deep conversations with strangers and friends about how much it has made them think about slavery and its impact today.
I think too much is known about me already. I think biographical information can get in the way of the reading experience. The interchange between the reader and the work. For example, I know far too much about Norman Mailer and Kurt Vonnegut. Because I know as much as I do about their personal lives, I can't read their work without this interjecting itself. So if I had it to do over, I'd probably go the way of J.D. Salinger or Thomas Pynchon. And just stay out of it altogether and let all the focus be on the work itself and not on me.
When I was a kid I would much rather have been a good baseball player or a hit with the girls, but I couldn't play ball. I couldn't dance. Luckily, the girls didn't want me. Not much I could do about that. So I started to draw and to write By the time I got to where I was attracting girls, I was already into work, and it was more important to me. Not that I wouldn't rather make love, but the work has become a habit.
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