A Quote by Harry Mathews

My Life in CIA is the first time that I've ever written a story in my own name. — © Harry Mathews
My Life in CIA is the first time that I've ever written a story in my own name.
I knew about some experience on the operational part of the CIA with Latin American services and so forth having to do with torture. But this was the first time that the CIA was openly advocating for permission to be able to torture. And that seemed to me so abhorrent that I wanted to disassociate myself from the CIA for the first time since 1963, because I didn't want to be associated in any way, however remotely, with an agency engaged in torture.
With my two brothers, Jean-Marie and Joel, I wrote a two-page story and wanted to make some kind of movie. We met a French production company, called Why Not?, and the first name we put on the list was Ken Loach. It was a dream for all of us. So, we tried and we met Ken and Paul Laverty, his writer, and they read the two pages and were inspired by that to do something. Paul had the freedom to do his own story - and he wrote his own story, which is better than the one we'd written.
The CIA is absolutely out of control. The CIA has been on a killing spree... The CIA has become a death squad and to see these films [ like Zero Dark Thirty] get so much acclaim at the time when the CIA is in its rogue killing phase is very disturbing.
My last point about getting started as a writer: do something first, good or bad, successful or not, and write it up before approaching an editor. The best introduction to an editor is your own written work, published or not. I traveled across Siberia on my own money before ever approaching an editor; I wrote my first book, Siberian Dawn, without knowing a single editor, with no idea of how to get it published. I had to risk my life on the Congo before selling my first magazine story. If the rebel spirit dwells within you, you won't wait for an invitation, you'll invade and take no hostages.
The short story that eventually grew into Constellation was the first fiction set in Russia that I'd ever written, and that was right around the time I was giving up on a doomed, never-to-be-seen first novel. While I saw it could be something bigger, in hindsight fortuitous timing was as responsible as anything.
At the secret CIA training facility called 'The Farm,' aspiring case-officers learn how to recruit spies and steal secrets. As a former CIA officer, this is where I was taught that in order to successfully recruit an asset, I must first understand what would motivate an individual to cooperate with the CIA in the first place.
My life after childhood has two main stories: the story of the hustler and the story of the rapper, and the two overlap as much as they diverge. I was on the streets for more than half of my life from the time I was thirteen years old. People sometimes say that now I'm so far away from that life - now that I've got businesses and Grammys and magazine covers - that I have no right to rap about it. But how distant is the story of your own life ever going to be? The feelings I had during that part of my life were burned into me like a brand. It was life during wartime.
I'd love to do a love story. I've never done a true love story, which would be awesome. But then again, I don't think I've had a true love story, even in my own life. Maybe that's something I want to explore in my own life first.
Tell me a story. In this century, and moment, of mania, Tell me a story. Make it a story of great distances, and starlight. The name of the story will be Time, But you must not pronounce its name. Tell me a story of deep delight.
The most important thing about the first sale is for the very first time in your life something written has value and proven value because somebody has given you money for the words that you've written, and that's terribly important, it's a tremendous boon to the ego, to your sense of self-reliance, to your feeling about your own talent.
In my own life, I've written scripts that I want to direct, so I would love to take my own creativity in a way where I could tell my own story. That does inspire me, the idea of becoming a director.
Everything the CIA does is deniable. It's part of its Congressional mandate. Congress doesn't want to be held accountable for the criminal things the CIA does. The only time something the CIA does become public knowledge - other than the rare accident or whistleblower - is when Congress or the President think it's helpful for psychological warfare reasons to let the American people know the CIA is doing it.
What's less well known is that the CIA's executive management staff is far more concerned with selecting the right candidates to serve as CIA officers than it is about selecting agents overseas. The CIA dedicates a huge portion of its budget figuring how to select, control, and manage its own work force. It begins with instilling blind obedience. Most CIA officers consider themselves to be soldiers. The CIA is set up as a military organization with a sacred chain of command that cannot be violated. Somebody tells you what to do, and you salute and do it. Or you're out.
A story is an end in itself. It is not written to teach, sell, explain or destroy anything. It is not written even to entertain. It is written as a man is born - an organic whole, dictated only by its own laws and its own necessity - an end in itself, not a means to an end.
I was interested in the ways we can write biography. When you're first starting to write about your own life it feels so shapeless because you don't know how to make your own story cohesive. How do I pluck a story out of the entirety of what it means to be alive. It occurred to me recently that when you're telling a story about your own life, rather than taking a chunk, you're kinda like lifting a thread from a loom.
I was the first actress who branded her own line at a time when everyone just lent their name to a product. Everyone said I shouldn't do it, but it was probably the best thing I've ever done.
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