A Quote by Jim Crace
Because I'm a walker, natural history is my subject; I've always been obsessed with landscape, and I have an elegiac tone in most of my books.
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Yeah, I mean, I think I'm obsessed with tone in the movies. Tone has always been the main thing that I go after with a movie.
I have always been obsessed with America, the geography, the history, and, of course, the music. I've been lucky enough to have travelled through the country a lot, and, in a kind of anorak way, I've noted which states I've visited and which ones I've been to most often and all that sort of detail.
Everyone says I should write a natural history or landscape book because if I have an area of amateur expertise, it is in those things.
It's funny, when you look back in history books or American cookery books, one of the reasons that the quinces and cranberries are used so often is because of their natural jelling properties.
If I had been a dog walker, I would have been the most successful dog walker in Paris.
I love to do three easy things in the morning: I'll wash my face, I usually tone it, and then I'll put a little bit of moisturizer on it - not tons, because I have really oily skin. I don't have specific products I'm obsessed with; I just try different things. That's how I've always been.
When Caroline Walker fell in love with Julian English she was a little tired of him. That was in the summer of 1926, one of the most unimportant years in the history of the United States, and the year in which Caroline Walker was sure her life had reached a pinnacle of uselessness.
Even the most meticulous historians work subjectively. The historian's point of view, his or her selection of subject and sources, the emphasis, the tone - all of these lead to subjective history, inevitably so. I do not say this as a criticism, merely as an observation.
I really only write about inner landscapes and most people don't see them, because they see practically nothing within, because they think that because it's inside, it's dark, and so they don't see anything. I don't think I've ever yet, in any of my books, described a landscape. There's really nothing of the kind in any of them. I only ever write concepts. And so I'm always referring to "mountains" or "a city" or "streets." But as to how they look: I've never produced a description of a landscape. That's never even interested me.
I did want to tone up my arms. Mine have always been lean but I've never had any muscle tone with it because I never exercised.
The world is moving into a phase when landscape design may well be recognized as the most comprehensive of the arts. Man creates around him an environment that is a projection into nature of his abstract ideas. It is only in the present century that the collective landscape has emerged as a social necessity. We are promoting a landscape art on a scale never conceived of in history.
I have long been interested in landscape history, and when younger and more robust I used to do much tramping of the English landscape in search of ancient field systems, drove roads, indications of prehistoric settlement. Towns and cities, too, which always retain the ghost of their earlier incarnations beneath today's concrete and glass.
We have far more options for black Americans to tell stories outside of slavery, but whenever it comes to slavery, it's an uncomfortable subject. Why? Because it's the most unresolved subject in American history.
Americans, more than most people, believe that history is the result of individual decisions to implement conscious intentions. For Americans, more than most people, history has been that.... This sense of openness, of possibility and autonomy, has been a national asset as precious as the topsoil of the Middle West. But like topsoil, it is subject to erosion; it requires tending. And it is not bad for Americans to come to terms with the fact that for them too, history is a story of inertia and the unforeseen.
When I was doing mainly music, I used to stick a microphone out the window, into the countryside, and create a live mix. I wanted to put air in electronic music. I record the sounds of twigs, barks, and stones. I've always been obsessed with the idea of combining the natural and the man-made. It's not because I think the technology is crap, or that I'm trying to work against it, but that juxtaposition is truly beautiful. The question of what is natural and unnatural is very open.
Writing of history is our only heuristic principle. The Germans have a word for it, einfühlen. It is the ability to experience the past in the present and to recreate it. In my books, I have tried to recreate it in the most natural way possible: History must be integrated into the story without the weight of premonition.
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