A Quote by Jonathan Franzen
It's not surprising to see in my own work, looking back, and in the work of some of my peers, an attention to family. It's nice to write a book that does tend toward significance and meaning, and where else are you sure of finding it?
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Psychologists usually offer three explanations for the failure of group brainstorming. The first is social loafing: in a group, some individuals tend to sit back and let others do the work. The second is production blocking: only one person can talk or produce an idea at once, while the other group members are forced to sit passively. And the third is evaluation apprehension, meaning the fear of looking stupid in front of one's peers.
Yeah, it's odd when you look back at your own work. Some filmmakers don't look back at their work at all. I look at my work a lot, actually. I feel like I learned something while looking at stuff I've done in terms of what I'm going to do in the future, mistakes I've made and things at work or what have you.
Certainly one of the surprising truths of having a book published is realizing that your book is as open to interpretation as an abstract painting. People bring their own beliefs and attitudes to your work, which is thrilling and surprising at the same time.
I think the nice thing about showing work in New York is that other artists come to see it. When you show work in Switzerland or somewhere else, everywhere else seems to be the provinces in a certain way. You wonder what your paintings are doing on the walls and you wonder who's looking at them.
When I sit down to write a book, I do not say to myself, 'I am going to produce a work of art.' I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing.
Sometimes when you're looking at your own work, you can't really see, and it's only when you step back a little bit later that you think, 'Oh, that's completely in line with everything else I've done.'
Sometimes when you're looking at your own work, you can't really see, and it's only when you step back a little bit later that you think, "Oh, that's completely in line with everything else I've done".
Finding meaning in your work is your responsibility. Any job can be better when you actively work to find meaning in the work.
A myth is a way of making sense in a senseless world. Myths are narrative patterns that give significance to our existence. Whether the meaning of existence is only what we put into life by our own individual fortitude, as Sartre would hold, or whether there is a meaning we need to discover, as Kierkegaard would state, the result is the same: myths are our way of finding this meaning and significance.
So much of my own life inspires what I write. Whether it's work, family, friends, motherhood, I am a writer who tends to write what she knows. In 'Revenge Wears Prada,' a great deal of my own life finds its way into the book.
... social roles vary in the extent to which it is culturally permissible to express ambivalence or negative feelings toward them.Ambivalence can be admitted most readily toward those roles that are optional, least where they are considered primary. Thus men repress negative feelings toward work and feel freer to express negative feelings toward leisure, sex and marriage, while women are free to express negative feelings toward work but tend to repress them toward family roles.
At some point, I would like to write a book and other things, but I work best when there is some sort of deadline in my own mind, but not when fifty people or fifty million people are breathing down the back of my neck.
When I write and develop things myself, I might work for a while on a script from a book, and then I go back and read the book and go back into it to see if I lost something: is there something there?
Writing is work. It takes a lot of contemplation, concentration, and out-and-out sweat. People tend to romanticize it, that somehow your work appears by benefit of some mystical external force. In reality, to be a writer, you have to sit down and write. It's work, and often it's hard work.
I keep trying to find ways to shift the viewer's attention away from the object they are looking at and toward their own perceptual process in relation to that object. The question for me always is: how can I make you aware of your own activity of looking, instead of losing your attention to thoughts about what it is that you are looking at?
Not everybody even gets to live with their own family because they have to go to L.A. or New York or wherever to work and find a job and leave their family back home. But every day, I get to work with my family - if I want to.
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