A Quote by John Gimlette

I find the public reaction to writing - it's fascinating in this modern age. Of course people are able to interact with me and email me, and I get quite a few I suppose.
We'd never make Slack an email client, but it's good to support sending emails into it. There's quite a bit of formatting you can do. When I get an email from the outside world that I want to share with team, I cut and paste it into Slack. But really, I should be able to import that email as an object.
If I could have the tabloids stop writing as much about me, and still get paid the same amount that I do, then I'd be quite happy. But I suppose it comes with the other things. If I'm not in the public eye, and then I'm not wanted, and I'm not getting endorsements, I'm not being talked about, my records aren't going to be bought.
I feel I'm able to serve my customer by knowing what she or he wants. One of the ways I'm able to do this is through my website, and email: people give me great ideas, tell me what they want, what they don't want. It's really instrumental, and helps me stay in touch with people.
The part of my writing I find the most rewarding is when people write to me or speak to me in public to tell me how his or her life has been changed by my books.
Acting gives me the opportunity to be fascinating on stage or, I suppose; properly speaking, pretend to be fascinating.
I admire Joyce Maynard a lot, specifically her memoir "At Home in the World." Her writing is beautiful and fascinating and seemed to give me validation to the idea that I could write validly in earnest about my life with (my) very feminine point of view, and also that I could unapologetically explore the bad traits of my character (which I find to be more interesting to explore than the good traits), as well as explore other concepts that interest me like private vs public personas, age gap relationships, etc.
I am one of the few goyim who have ever actually tackled the Talmud. I suppose you now expect me to add that it is a profound and noble work, worthy of hard study by all other goyims. Unhappily, my report must differ from this expectation. It seems to me, save for a few bright spots, to be quite indistinguishable from rubbish.
I find it very fascinating that one person or a group of people can get together as a choir and come up with a song that ends up inspiring people to create emotions, love and togetherness. Communication, which comes from this idea that sparks off of humanity and becomes something that is cherished and loved by the people, is very fascinating to me.
It's an easier task to imagine someone's interior world when you feel quite distanced from them. In the same way that I find writing about Australia easier than writing about the UK because I don't have the reality of it in front of me to get me bogged down in trying to be exact.
Writing the novel felt so private to me! I think publishing a novel is quite public and exposing, and what's a little frightening to me right now is the fact that it feels so entirely opposed to the privacy that is writing.
I've never, ever had people being aggressive to me in public or abusing me, and actually quite a lot of men do say to me, 'You're quite good' - though they can't bear to go, 'You're great.'
The No. 1 quote critics give me is, 'Thom, your work is irrelevant.' Now, that's a fascinating, fascinating comment. Yes, irrelevant to the little subculture, this microculture, of modern art. But here's the point: My art is relevant because it's relevant to 10 million people. That makes me the most relevant artist in this culture.
I noticed recently, in the last few shows I did, that I'm starting to get people - not a large group, but quite a few people - who come to see me because they love Curb Your Enthusiasm.
I don't interact with people much. So some people find me arrogant but some find me very sweet.
One of the fascinating things about researching Heaven and Hell is, of course, the fact that there are so few descriptions of Heaven, because most people can't really explain what it would be like beyond a couple of sentences, whereas Hell is quite often personal.
It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. Each age find its own technique.
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