A Quote by John D'Agata
Plutarch's peers were writing "rhetorics," which were these dry philosophical treatises that made really broad gestures about life and death and fate. Plutarch stepped out of the stream to create an essayistic form that relied on a digressive structure and down to earth anecdotes.
Related Quotes
When I ask Plutarch about his absence, he just shakes his head and says, "He couldnt face it." "Haymitch? Not able to face something? Wanted a day off, more likely," I say. "I think his actual words were 'I couldn't face it without a bottle,'" says Plutarch.
People like to say that Plutarch's is a really "personal" voice, but in truth Plutarch tells us very little about his life. His voice is personable but never personal. It feels intimate because he's addressing the world as we experience it, at this level, a human level, rather than way up here where very few of us live.
Plutarch rushes to reassure me. "Oh, no, Katniss. Not your wedding. Finnick and Annie's. All you need to do is show up and pretend to be happy for them." "That's one of the few things I won't have to pretend, Plutarch," I tell him.
Of course you are. The tributes were necessary to the Games, too. Until they weren't," I say. "And then we were very disposable - right, Plutarch?
I, for my own part, had much rather people should say of me that there neither is nor ever was such a man as Plutarch, than that they should say, "Plutarch is an unsteady, fickle, froward, vindictive, and touchy fellow.
So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us.
Anecdotes don't make good stories. Generally I dig down underneath them so far that the story that finally comes out is not what people thought their anecdotes were about.
The intimate and meditative form that Plutarch became known for was completely new in his day.
Plutarch has a fine expression, with regard to some woman of learning, humility, and virtue;--that her ornaments were such as might be purchased without money, and would render any woman's life both glorious and happy.
Creeping with awe to the verge, I peered down into a large rent which had been made from bank to bank of the broad Zambezi, and saw that a stream of a thousand yards broad leaped down a hundred feet [30 m] and then became suddenly compressed into a space of fifteen to twenty yards.
I made a real specific decision when I came out of school and most artists were writing about home - if you were a woman, you were writing about being a woman - and I decided not to do that, write about what you know. That's not what I do. I went as far away from home as possible in terms of the development of my imagination.
I made a note in my head to be aware of things as they were happening, because they might not happen again. Up to that point, I was not really that appreciative of what was going on, or thinking about documenting life in a plainspoken manner. I was talking about my life and writing songs, but then I would go back and listen and they were about dreams, and legends, and metaphors and that was just not my life!
The one resolution, which was in my mind long before it took the form of a resolution, is the key-note of my life. It is this, always to regard as mere impertinences of fate the handicaps which were placed upon my life almost at the beginning. I resolved that they should not crush or dwarf my soul, but rather be made to blossom, like Aaron's rod, with flowers.
Actually, I've taught creative writing in Turkey, at an English language university, where the students were native Turkish speakers, but they were writing their essays in English, and they were very interesting - even the sense of structure, the conventions of writing, the different styles of writing.
Some years ago I was working on some forms which were vase forms with a fairly narrow base, and it was after [Hans] Coper had died that I saw an exhibition of his, a catalogue from an exhibition, and he was showing some forms which were made by cutting and joining a lot of different parts together to create what he called a spade form, which you can imagine looks a little bit like a shovel upside down.
If I had my life over again I should form the habit of nightly composing myself to thoughts of death. I would practise, as it were, the remembrance of death. There is no other practice which so intensifies life. Death, when it approaches, ought not to take one by surprise. It should be part of the full expectancy of life. Without an ever-present sense of death life is insipid.
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