A Quote by Joyce Carol Oates
Writing is a consequence of having been 'haunted' by material. Why this is, no one knows.
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After one has been in a lowly position, one knows how dangerous it is to climb to a high place, Once one has been in the dark, one knows how revealing it is to go into the light. Having maintained quietude, one knows how tiring compulsive activity is. Having nurtured silence, one knows how disturbing much talk is.
I've been writing a lot of country music again. I've written some bluegrass material. I'm having a good time doing that.
This is why it's bad to run a country by executive order: because our nation runs on laws - when everyone knows the law, and everyone knows what it is, you know both the law and the consequence, and you get that.
We are born haunted, he said, his voice weak, but still clear. Haunted by our fathers and mothers and daughters, and by people we don't remember. We are haunted by otherness, by the path not taken, by the life unlived. We are haunted by the changing winds and the ebbing tides of history. And even as our own flame burns brightest, we are haunted by the embers of the first dying fire. But mostly, said Lord Jim, we are haunted by ourselves.
My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.
My life has really been about writing, though some think it's all about once having been in a ball dress and having an odd life and marrying all the time. But it's the writing that's always been the point.
Mistaken identity, of course, has been the province of much postcolonial fiction. An important feature of this writing is the manner in which misrecognition has haunted all cognition.
Something like going to get the newspaper can increase your writing efficiency by taking you away from the material. When I'm doing other things, writing stuff will be swirling around in my head, and sometimes I'll see a new way into the material.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
I have to say that my background in comedy, of performing live, has been such a great foundation for what we do now on camera. I really value having that kind of experience. Because when you're doing comedy shows you're writing your own material and trying it out on people and you know people find funny and don't.
The pleasure from acting comes from having great writing to work with. If it's well written and the character is interesting, then, as an actor, that's the raw material I need.
I have sometimes been haunted with the idea that it was an imperative duty, knowing what I know, and having seen what I have seen, to do all that lies in my power to show the dangers and the evils of this frightful institution.
The past is never dead. It's not even past. All of us labor in webs spun long before we were born, webs of heredity and environment, of desire and consequence, of history and eternity. Haunted by wrong turns and roads not taken, we pursue images perceived as new but whose providence dates to the dim dramas of childhood, which are themselves but ripples of consequence echoing down the generations. The quotidian demands of life distract from this resonance of images and events, but some of us feel it always.
Whenever the government of the United States shall break up, it will probably be in consequence of a false direction having been given to public opinion.
So that's why one of my rules of parody writing is that it's gotta be funny regardless of whether you know the source material. It has to work on its own merit.
I don't know why he [Darren Star] is so good at writing for women. Maybe he just likes women. I'm not quite sure what the magic recipe is, other than he just knows how to entertain an audience, and he knows when to be gooey and sweet, and when to be provocative and naughty.
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