A Quote by John Fusco
I grew up with a fascination with Marco Polo. I had this unlikely interest in the East as a young man, and you can't really read about Chinese history and philosophy without encountering him at every turn.
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There is still one of which you never speak.' Marco Polo bowed his head. 'Venice,' the Khan said. Marco smiled. 'What else do you believe I have been talking to you about?' The emperor did not turn a hair. 'And yet I have never heard you mention that name.' And Polo said: 'Every time I describe a city I am saying something about Venice.
At a young age, when I was fascinated with China, I read 'The Travels of Marco Polo' and learned about this exciting, dramatic world he captured and reported on. He's so little known, but yet this mythology has survived that's so misrepresentative of his story.
He was an Italian kid traveling in China, and I'm of Italian decent with a fascination for China. So, I always felt this connection to him and lived vicariously through the travels of Marco Polo.
When people hear the name 'Marco Polo,' they tend to think of a map or explorer. Very few people know the true story of Marco Polo, and it's so much more compelling and exciting than the mythology.
It all goes back to 'Wow, I never knew this about Marco Polo.' This is an incredible story and an incredible character, and such a rich world of Mongolian and Chinese culture.
When I was a kid and a young man I read everything. When I was about 23, I was incredibly lucky in that I wound up with several book review columns, which meant that I had to read huge amounts of stuff that was outside my experience and outside my comfort zone. I think every young writer should be forced to read the kind of stuff they would not normally read for pleasure.
My father was a writer, so I grew up writing and reading and I was really encouraged by him. I had some sort of gift and when it came time to try to find a publisher I had a little bit of an "in" because I had his agent I could turn to, to at least read my initial offerings when I was about 20. But the only problem was that they were just awful, they were just terrible stories and my agent, who ended up being my agent, was very, very sweet about it, but it took about four years until I actually had something worth trying to sell.
I never could read Foucault. I find philosophy tedious. All of my knowledge comes from reading novels and some history. I read Being and Nothingness and realized that I remembered absolutely nothing when I finished it. I used to go to the library every day and read every day for eight hours. I’d dropped out of high school and had to teach myself. I read Sartre without any background. I just forced myself and I learned nothing.
I'm not an educated man, but I've read some history. Every kingdom comes up bloody. Every castle is built on a pile of bones. When I came out here, LA was nothing. Back east I was a gangster, out here I'm god.
The occult stuff, I grew up having a fascination about world religion and that fascination grew into other religions and other things and I kind of dabbled my way into the occult and started reading about the occult.
I feel that Marco Polo has really been misrepresented - has never really gotten his due.
Everybody has done something about Marco Polo. It's the tiredest, most trite and worked-over subject in the world, and that was why it appealed to me, because I wanted to do something really new and different about something that had been worked over all these centuries, and I think I did.
I grew up hearing about the walking undead. I had a fascination with it as a child.
Marco Polo tells the tale of The Old Man in the Mountains and how he recruits new members to his Band of Assassins by means of drugs, beautiful women, lush gardens, and religious promises. The unfortunate thing about this world is that the good habits are much easier to give up than the bad ones.
The absurd man will not commit suicide; he wants to live, without relinquishing any of his certainty, without a future, without hope, without illusions … and without resignation either. He stares at death with passionate attention and this fascination liberates him. He experiences the “divine irresponsibility” of the condemned man.
I wrote 'The story of O' alone, for Dominique Aury, to interest him, to please him, to occupy him. I wasn't young, nor particularly pretty. I needed something which might interest a man like him.
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