A Quote by Jonathan Franzen
Nell Zink is a writer of extraordinary talent and range. Her work insistently raises the possibility that the world is larger and stranger than the world you think you know.
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In mysteries what we know, and our realization of what we do not know, proceed together; the larger the island of knowledge, the longer the shoreline of wonder. It is like the quantum world, where the more we understand its formalism, the stranger that world becomes.
I think my weakness as a writer is a limited imagination, and I think my strength is a talent for reflecting the world, or sort of curating things out of the world and putting them into books.
He had a stellar talent. I not only lost a contemporary in the death of Robert E. Howard. The world lost a writer of extraordinary gifts.
I want to make sure that that future that we're creating is one that is the best it can be for people around the world, and also one that includes the full range of our talent and our skills - and, you know, gender and ethnicity, geography - to solving the world's problems.
In my own life, as winters turn into spring, I find it not only hard to cope with mud but also hard to credit the small harbingers of larger life to come, hard to hope until the outcome is secure. Spring teaches me to look more carefully for the green stems of possibility; for the intuitive hunch that may turn into a larger insight, for the glance or touch that may thaw a frozen relationship, for the stranger's act of kindness that makes the world seem hospitable again.
Her work, I really think her work is finding what her real work is and doing it, her work, her own work, her being human, her being in the world.
I liked helping talent with their matches prior to my injury. Obviously, now as a producer it becomes more a larger responsibility than just me as a talent giving advice. What I didn't know was I didn't know how fulfilling it could actually be.
I think it's harder to avoid reflection on those larger patterns of history or society when they so insistently call into question your right to exist.
Books are a world in themselves, it is true; but they are not the only world. The world itself is a volume larger than all the libraries in it.
Love your material. Nothing frightens the inner critic more than the writer who loves her work. The writer who is enamored of her material forgets all about censoring herself. She doesn't stop to wonder if her book is any good, or who will publish it, or what people will think. She writes in a trance, losing track of time, hearing only her characters in her head.
There are two basic defenses for an open ending: one is, If you read carefully enough, you'll know what happened. And the other is, That's how life is: things don't come to neat endings, there isn't a "happily ever after." But if you take that second line of defense, then I think you have to make the point that the writer has shown the range of possibility.
You know those people in life who are a bit eccentric and larger than life or a bit odd? That their realm of possibility around them is larger than somebody who's called normal? What's normal for an oddball? They could start screaming in public. That's fun to play.
I'm a writer and this is what I do no matter what name we put to it. Year by year, the world is turning into a darker and stranger place than any of us could want. This is the only thing I do that has potential to shine a little further than my immediate surroundings. For me, each story is a little candle held up to the dark of night, trying to illuminate the hope for a better world where we all respect and care for each other.
The world I grew up in had both a literal and mythological quality. We were on the borders of several worlds - the larger black world bordered us on one side. More distantly, there was the larger white world. We interacted with some, but not others. If you think of it as an internal geography, it is a land, a contested space with these very charged historical, cultural, and emotional borders.
I re-read The History of White People by Nell Irvin Painter. It's a book every one should read, particularly Americans, as the USA is her primary focus. Her book demonstrates that white is not universal, that white is not neutral, that it has a history, which she eloquently delineates. It's not often you finish a book understanding how the world operates better than before you read it.
I don't think any change in the world has been more significant than the change in the status of women. . . . A woman's world was her home, her family, and perhaps a little community service. Today, a woman's world is as broad as the universe.
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