A Quote by Janet Malcolm

Biographies never feel as real as the best fiction. There is such a discontinuity between the narrative and the material it comes from, which is always such a mixed bag of letters, recollections, and other data.
There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.
I hate biographies which say, I was called to such and such an office, and he offered me so and so, and I got so and so money. I find that very tedious. The best biographies are written by other people.
Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.
I started out as a writer of fiction, but nobody wanted to publish my work as a young man. So I decided to put my interest in the narrative writing of biographies.
We get more data about people than any other data company gets about people, about anything - and it's not even close. We're looking at what you know, what you don't know, how you learn best. The big difference between us and other big data companies is that we're not ever marketing your data to a third party for any reason.
The close-up has no equivalent in a narrative fashioned of words. Literature is totally lacking in any working method to enable it to isolate a single vastly enlarged detail in which one face comes forward to underline a state of mind or stress the importance of a single detail in comparison with the rest. As a narrative device, the ability to vary the distance between the camera and the object may be a small thing indeed, but it makes for a notable difference between cinema and oral or written narrative, in which the distance between language and image is always the same.
For me, in movies, it's always a mixed bag. I've never made a movie where I thought, "You were really good in that movie; you were good all the time." No. It's always, "You didn't get it, you didn't do it in that scene, but the other scene is pretty good." So I just hope that in balance there's more good scenes than not.
I feel like British designers are having a real moment; there's a lot of freedom to be different, and I think that that's what so unique. There's no expectation of what you're going to see at London Fashion Week, and I think that's why you get such a mixed bag of sweets.
Real orgies are never so exciting as pornographic books. In a volume by Pierre Louys all the girls are young and their figures perfect; there's no hiccoughing or bad breath, no fatigue or boredom, no sudden recollections of unpaid bills or business letters unanswered, to interrupt the raptures. Art gives you the sensation, the thought, the feeling quite pure--chemically pure, I mean,... not morally.
Redheaded Peckerwood, which unerringly walks the fine line between fiction and nonfiction, is a disturbingly beautiful narrative about unfathomable violence and its place on the land
I've always had an abundance of material about the subjects of my biographies.
We have known each other for a long time, and I've always known the real Paris. I always knew she was like wife material or serious girlfriend material.
Fiction is of the essence of poetry as well as of painting; there is a resemblance in one of human bodies, things, and actions which are not real, and in the other of a true story by fiction.
One of the myths about the Internet of Things is that companies have all the data they need, but their real challenge is making sense of it. In reality, the cost of collecting some kinds of data remains too high, the quality of the data isn't always good enough, and it remains difficult to integrate multiple data sources.
At the core, I am an actress. And I think, in a way, that's a good thing in that I am, I think, empathetic and sympathetic to the film. I would never pretend to have the discerning and acute critical eye that a lot of the great critics in our business do have. I don't look at it as being a critic or placing a judgment on a film, and I do think, how do you decide which film is best anyway? It's always a little bit of a mixed bag. But, I think it is just a collective group of people coming together to honor the work of an artist - that's how I think of it.
TIA was being used by real users, working on real data - foreign data. Data where privacy is not an issue.
This site uses cookies to ensure you get the best experience. More info...
Got it!