A Quote by Jennifer Chiaverini
In my contemporary stories, I write about today's quilters, inventive techniques they use, and how technology has influenced their art. Novels set in the past let me have fun researching patterns that were popular and fabrics and tools available to quilters through history.
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Beginning writers are often advised to 'write what you know,' and since I knew about quilters - their quirks, their inside jokes, their disputes and their generosity, their quarrels and their kindnesses - the lives of quilters became a natural subject for me. Quilting wove together my two themes as completely and effortlessly as I could have hoped.
One of the things that's exciting for me about this novel is that, to me, Brookland and The Testament of Yves Gundron were both, in certain regards, crypto-steampunk. They're both books that are interested in an alternate technological past that in fact didn't historically come to pass. If you were to ask me what my novels were about, I would say, well, these are novels about technology and how we relate to technology and what technology means.
My book, Oral History: Understanding Qualitative Research is about how researchers use this method and how to write up their oral history projects so that audiences can read them. It's important that researchers have many different tools available to study people's lives and the cultures we live in. I think oral history is a most needed and uniquely important strategy.
I'm not imprisoned in any one medium. In films I use techniques that are not necessarily what other directors attempt. When I write novels I also use techniques which can run counter to those that a novelist would use.
I have a fairly unwieldy set of concerns that go into determining what I do in the paintings, such as the history of the decorative, patterns of cultural migration, Islamic art and design, Byzantine architecture, the annals of natural history, as well as contemporary painting. All of these things are filtered through my own sense of cultural urgency. How I proceed with the work has to do with how I respond to this instinctively chosen mass of materials. I'm weighing many things and making many decisions before I even get started on a painting.
It’s fascinating how the fundamentals of business-to-business marketing are the same today as they were 50 years ago. It’s still about relationships although today we have new tools and techniques at our disposal.
I try to write about how we live today, how we use language, technology, our bodies.
Of course, technology is very important now. It's there, its available. It's there to be use however you see fit. You can use it and the jihadist can use it. In their case they have been very effective at making use of technology, particularly with websites. It's primarily through these websites that they do their recruiting. But it's not technology that makes them that way.
People who assume my books are only about quilts obviously haven't read them! I've always known that my books are about quilters - in other words, people - rather than quilts or quilting.
Two quilters who have just met will be strangers only until their mutual passion for quilting is revealed. Then they can talk for hours like the best of friends.
Intuition is when we use our experience, and the patterns we have learned, to rapidly size up situations and know how to respond without going through deliberate analysis. Intuitions depend on the patterns we have acquired. Insight is about gaining new patterns.
In the '20s and '30s, there were these musicals either set on college campuses or based on classical stories, so any of the Rodgers and Hart musicals certainly influenced me. I was definitely influenced by any of the 'Porgy' songs; I was influenced by 'American Pie.'
My first two novels were set in the past, and that freed me up in a lot of ways; it allowed me to find my way into my story and my characters through research.
It became a question of taste. I have a certain taste in art history. And that - I had a huge library of art history books in my studio. And I would simply have the models go through those books with me, and we began a conversation about, like, what painting means, why we do it, why people care about it why or how it can mean or make sense today.
If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.
From about eight years old I was always making things on the sewing machine. Friends would see me making dresses and costumes, and I'd use difficult fabrics such as Lycra and elastic. But you know, my dad was creative and my brother is inventive too.
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