A Quote by Hannah Kent
I have a deep and ongoing love of Iceland, particular the landscape, and when writing Burial Rites, I was constantly trying to see whether I could distill its extraordinary and ineffable qualities into a kind of poetry.
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I have a deep and ongoing love of Iceland, particular the landscape, and when writing 'Burial Rites,' I was constantly trying to see whether I could distill its extraordinary and ineffable qualities into a kind of poetry.
It's curiosity, and always a sense of poetry. You see it in particular in the chapter "Iceland" where I'm reciting ancient Icelandic poetry. It has this very beautiful gravitas in conjunction with the volcanoes.
What's required of me in the field is to feel,' Stirton says with emphasis. 'And trying to take that feeling and put it in a form that communicates a particular set of emotions or circumstances - whether that involves depicting masculine pride, or a particular kind of suffering, or love, or closeness - my primary job is to feel and to try to put that feeling into some kind of visual form. My goal is to get to the heart of each story, you know? I’m trying to evolve in my work.
I could experience vulnerability if I just constantly gave myself away without ever taking time out once a day or a couple times a day or whatever it is I need to restore, whether it's more sleep, or whether it's going to see a movie or writing something new.
Writing is a particular kind of frustration, which is why when I was making the structure for the novel I visualized it for myself with a color-coded board so I could see it.
If we can think of a place, the physicality of a place, as a kind of 'material,' I would say the landscape of Florida in particular was especially important while writing 'Isle.'
The whole Ireland was taken over by greed and materialism. It was extraordinary. The price of every house had skyrocketed. If you were a small farmer and you had two fields outside, if you built 17 bungalows on them all, you become a millionaire, that kind of thing. It was extraordinary to see how rapidly that kind of ethic takes over a whole culture, but that's what's happened to us since the year 1998, about. It's completely extraordinary how little regard the culture had for the landscape. The country is now full of these half-built industrial parks and hotels.
you have often seen in the cinema, erich, haven't you, that between extraordinary people extraordinary things like for example extraordinary love can arise. so we only have to be extraordinary and see what happens.
Writing keeps me at my desk, constantly trying to write a perfect sentence. It is a great privilege to make one's living from writing sentences. The sentence is the greatest invention of civilization. To sit all day long assembling these extraordinary strings of words is a marvelous thing. I couldn't ask for anything better. It's as near to godliness as I can get.
I always think about the books I'm doing in pretty much the same way. I'm simply trying to write that particular novel as well as that particular novel can be written. I want to listen to what it is telling me, trying to figure out what it wants to do as much as what I want to do with it. There's a negotiation that's constant and ongoing between me and the material I'm working with, because I'm trying to listen to it.
You have made me ashamed of the wasted years. You have made me acknowledge that no darkness has ever been deep enough to extinguish my personal knowledge of love. And all around me in this world I see evidence of love. I see love. I see it in the human struggle. I see its undeniable penetration in all that humans have accomplished in their poetry, their painting, their music, their love of one another and refusal to accept suffering as their lot.
Panorama is the first word for landscape in Greek. It was about [how today] we see everything, we get to see everything, everything is shown to you whether you want it or not, but all of the time you only see fragments of reality. The big picture we really don't see; it's kind of hard to make it up.
I love Australia passionately. I love our landscape. It's influenced most of my work, really. Almost everything I've written is about the landscape. Trying to find, the sacred, the spiritual in it.
Throughout the history of Iceland, men have been lost at sea; every family in Iceland is connected to that kind of story.
The older I get, the more and more I notice I'm like my father. It's funny, because when I was younger I tried to just back away from my father as much as I could, and some of the philosophies, some of the life lessons, some of the beliefs that he had within me are always constantly ongoing, and they're always prevalent in my life, whether it's trying to be every single thing that I can be in my sport or life or relationship or business, whatever avenue I'm pursuing.
Music to me is spontaneous, writing is spontaneous and it's all based on not trying to do it. From beginning to end, whether it's writing a song, or playing guitar, or a particular chord sequence, or blowing a horn, it's based on improvisation and spontaneity.
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