A Quote by Jed Mercurio
The idea of a physical stigma is quite appealing. When I wrote the book of 'Bodies,' there was a lot of that in the book about how there are physical manifestations of psychological problems - I think it's described as 'Narrativizing The Body.'
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An e-book is not a physical book. That point might seem trite until you stop for a moment to think how much simpler it is, in a certain sense, to destroy electronic than physical traces.
A book, being a physical object, engenders a certain respect that zipping electrons cannot. Because you cannot turn a book off, because you have to hold it in your hands, because a book sits there, waiting for you, whether you think you want it or not, because of all these things, a book is a friend. It’s not just the content, but the physical being of a book that is there for you always and unconditionally.
I can only describe it as: the whole experience was imprinted on my body. And when I started to write it, it just came from such a very, In The Body of the Worldvery physical... it just came from my body. I don't know how to explain it better than that. I guess my head was transmitting it. It was a very, very physical experience writing this book.
The book has very specific qualities. Let's say in 2300 they discover the physical book, after having lived with the digital book for several hundred years. They'll be able to say, "Look at all the cool stuff you can have in a real book and how different it is." The differences are manifold.
I first got to know Charles in the late seventies when I wrote an article and then a book about him and I think at the time he came across as quite appealing, it was probably the height of his popularity.
At one point I felt a tension between objects, their real, physical lives, and the idea of meaning: the physical, material reality of a book, and the totally intangible experience of reading it.
The computer is the way I'm making books, but I still think about the physical properties. I visualize the length of a book, the proportions of a book, in material terms.
When something goes wrong with the body of energy that surrounds and protects your physical body, it will later show up in your physical body. The problem always starts in the subtle physical, and then manifests in the physical.
Generally I start writing when I have even the smallest idea of how a book is going to go, because the physical process of writing itself keeps the mind active and focused on the job at hand. Usually I write in about 5 drafts, but that simply means there are 5 definite times when I go in a linear fashion from the beginning to the end of the book.
When a patient tells a doctor that every symptom is the most horrible ever - and the physical exam and labs are normal - we often suspect something psychological is going on. The symptoms aren't fake. They're physical manifestations of anxiety, depression, and stress. So while I'm always on the lookout for a serious underlying disease.
The technology that threatens to kill off books as we know them - the 'physical book,' a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.
he technology that threatens to kill off books as we know them - the "physical book," a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.
"The War on Consciousness" is really all physical manifestations and all those problems are ultimately just a war on your way of thinking. Especially now, when we're involved in the war on terror. Terror is a psychological term. Terrorism is a political term. Terrorist is a sociopolitical term. But terror is a psychological thing.
Literature has become too psychological. We discount the physical, when in fact much of life is physical. People's personalities are partly formed by, or in response to, how they take up space; the physical mask has some relation, howsoever obscure, to the mental work happening underneath.
I wrote my first sucio story, as I call them, in 1997. This was always my 'cheater's book,' my book about sucios desgraciados. My plan was to write a book about how people deal with love and loss.
Freud wrote a book on the essence of humor, but he didn't know what he was talking about. Max Eastman wrote a book, The Enjoyment of Laughter, that was a much better book, but nobody bothered to read it.
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