A Quote by Jennifer Egan

My last novel, 'The Keep,' was very explicitly technological, about the quality of living in a state constantly surrounded by disembodied presences, and I was thinking very much about the online experience.
I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
it is when you are really living in the present-working, thinking, lost, absorbed in something you care about very much, that you are living spiritually.
It can be very frustrating and very deflating to be constantly defined and described by other people, so I've stopped reading anything written about me, and I find it much healthier. I just sort of concentrate on what I do and don't worry too much about that.
Luxury is research in quality. It's quality with no compromise. What does that mean? That you don't think about how much something will cost to be able to achieve the very, very best.
The whole quality of your life depends on your state of mind. There are very high states of mind that very few people experience. They are also quite pragmatic and practical and they make you more efficient at living and working in the world.
The very quality of books to read and facts to master with which the twentieth-century man is confronted encourages him to think broadly and superficially about much, but hinders him from thinking deeply and thoroughly about anything.
The music is just very specifically [designed] to get you energized. That's the great thing about those situations: I have no choice. It completely takes over your body and pushes you, like it was designed to do. I'm constantly surrounded by music, energy, and experiences that put me in that state of cheer.
If someone does learn about the world from reading a novel of mine, that makes me very happy. It's probably not what brings me into the novel in the first place - I usually am pulled in by some big question about the world and human nature that I'm not going to resolve in the course of the novel. But I'm very devoted to getting my facts straight.
So much of what deejays like myself do is, I'm very interested in - I'm constantly looking for new music, constantly digging, but then also I am thinking about how to present it in a way that kind of makes sense to people who are less - sort of less with their hands in it than I am.
The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.
To be honest, I'm not even thinking about America. If I was to start thinking about the enormity of 'Downton' and the size of the project, then I wouldn't be able to be very truthful to the work. I would start to watch myself too much. I'm not even thinking about it. Who knows what will happen.
We the Living is not a novel 'about Soviet Russia.' It is a novel about Man against the State. Its basic theme is the sanctity of human life - using the word 'sanctity' not in a mystical sense, but in the sense of 'supreme value.'
The reality that we were growing up in was very young and vibrant, and nobody was capturing that part of India. I started to backpack after getting out of college. I hiked and did a lot of things nobody was capturing in art at all in India, so I wrote my first novel. It was a very, trippy, experience-filled novel, and it ended up doing very well in India because nobody was writing about that at that point.
I was always entirely about work, about getting where I am now. If I'm not working I'm thinking about it, though at some point I learned not to talk about it very much.
Scorsese has very defined ideas about how to shoot a scene, and he's an editor himself - we cut together. It means he's constantly thinking about my problems while he's filming.
When you're surrounded by majestic Norwegian nature, it's very easy to start thinking about stuff you don't have time to in everyday life.
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