A Quote by Karin Slaughter

The familiar trope of the woman in peril doesn't really interest me. — © Karin Slaughter
The familiar trope of the woman in peril doesn't really interest me.
Relationships are really what interest me the most. And I think, in the end, they interest most people the most. Even when you read Tolstoy or something, basically they're about man and woman relationships.
I am not really interested in the comic book movies for example. They send me very violent scripts that don't interest me. One I was sent involved me playing a woman, a mother and wife who gets killed, shot in the stomach. It was a thriller and it did not excite me at all. So I turned it down.
The strange thing about hotel rooms is that they look familiar and seem familiar and have many of the accoutrements that seem domestic and familiar, but they are really weird, alien and anonymous places.
I think we need to have stories about women that don't necessarily fit the trope of the classic woman, because they do exist. We have to show real life on TV and film. And we don't. We only see maybe 5 percent of what real people are really like. I mean, movies set in Los Angeles that don't have any minorities in them - how does that happen?
We take a natural interest in novelties, but it is against nature to take an interest in familiar things.
Self-reinvention is an essential trope of the American project, closely linked to another such trope: going on the lam. Both are regularly featured in movies and novels and suchlike. Criminals and persons loitering with and without intent hold a crucial place in the culture. For obvious reasons, the culture cannot endorse this behavior, even as it is in thrall to it.
In mainstream literature, a trope is a figure of speech: metaphor, simile, irony, or the like. Words used other than literally. In SF, a trope - at least as I understand the usage - is more: science used other than literally.
The only thing that ever really frightened me during the war was the U-boat peril.
I have an expression I use as I've gone around the world through my career: 'You never tell another man or woman what's in their interest. They know their interest better than you know their interest.'
The peril of this Nation is not in any foreign foe! We, the people, are its power, its peril, and its hope.
What I wanted to do was put a woman of color, front and center, in my movie combining a lot of themes that were relevant to both men and women. I actively wanted her to carry the weight of this movie because I'm a woman. And I actively wanted to explore many of the issues that affected her as a woman of color. That was very important to me. And although these issues affect some women of color, I don't think they're only of interest to women of color. They're of universal interest.
A woman is at her greatest peril in the presence of a beautiful man.
I wanted to talk about women artists but I wanted to depart from the biopic dynamic, that trope where a strong woman succeeds in a very oppressive world. This idea that 'it can happen if you want.'
I see parallels between Karachi and the cities that I was familiar with: a very different place, but in terms of its human stories not really very different at all. That was what excited me about the place - that it was so complex, as difficult to me as an outsider and yet so human in a way that was ultimately very familiar.
Ever since 'Single White Female,' the 1990 novel which was turned into a supremely scary film, the idea of a seemingly normal woman who will stop at nothing to get what she wants has become an abiding literary trope.
As a Muslim woman, I'm all too familiar with the media shorthand for 'Muslim' and 'woman' equaling Covered in Black Muslim Woman. She's seen, never heard. Visible only in her invisibility under that black burka, niqab, chador, etc.
This site uses cookies to ensure you get the best experience. More info...
Got it!