A Quote by Jennifer Egan
I think playing the glamour card is a disastrous error as a literary writer.
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My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
I like to think I've grown as a writer and taken some risks, but I still consider myself to be a literary writer.
For me the path to the literary goes through the non - literary. For this reason it surprises me that I am a writer, or that people speak of me as a writer. I'm flattered, but I don't quite believe it.
Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
I’m not playing the race card. I’m playing the rice card.
A writer is a performer as well. A writer isn't the literary department. That gets tried on but nothing's a script unless a good writer goes away and does his thing alone.
In the past, I said I didn't want to speak on certain issues because the second I said one thing about race, then 'Tyron's playing the race card.' But if you really think about it, what is the race card? The race card is that the man held me down, I had unfair circumstances, and I wasn't able to be successful because I was held down.
It's perceived as an accolade to be published as a 'literary' writer, but, actually, it's pompous and it's fake. Literary fiction is often nothing more than a genre in itself.
I think that glamour is about confidence. I think however somebody feels beautiful, that's glamour.
But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
The race question is subsidiary to the class question in politics, and to think of imperialism in terms of race is disastrous. But to neglect the racial factor as merely incidental is an error only less grave than to make it fundamental.
I think glamour all the time. I wake up in the morning and I'm already thinking glamour.
I think glamour all the time. I wake up in the morning and I’m already thinking glamour.
Glamour's my thing. The glamour is what got me into this business in the first place. I lived in a fantasy world in order to survive. Now that I'm here, I plan to work it. That means playing the part--long, tight dresses, slick! Unless you rise to the occasion, Hollywood doesn't really exist.
I've always felt strongly that a writer shouldn't be engaged with other writers, or with people who make books, or even with people who read them. I think the farther away you get from the literary traffic, the closer you are to sources. I mean, a writer doesn't really live; he observes.
I think magazines like Glamour have the ability to have a great impact. Glamour has the ability to expose them to things like feminism that they may not be well acquainted with. In fact, Glamour has done that in the past - when I was in eighth grade I read an article in Glamour magazine about female feticide and infanticide that actually sparked my entire interest in feminism. I hate it when some feminists say we should get rid of beauty and fashion magazines - I think there's room in feminism for fashion, for fun, for talking about sex and friendships and relationships, etc.
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