A Quote by Kathryn Harrison

For years, the place I really lived - the world I watched, the one I thought and wrote about - was 15th-century France. — © Kathryn Harrison
For years, the place I really lived - the world I watched, the one I thought and wrote about - was 15th-century France.
There can be no place in a 21st-century parliament for people with 15th-century titles upholding 19th-century prejudices.
Some writing courses will advise you to write what you know. I've always thought this is very odd advice ... because it means, for example, that I should not be writing about Nicholas Flamel, because I didn't live in France in the 15th Century, I was not an alchemyst, am not immortal (despite the rumours) and do not know magic.
I mean tomorrow if I want to make a film about a queen that lived in the 15th century, I can't be like I can't make it. I should be able to make it.
I'm the most Colombian of the Colombians, even though I've lived 47 years outside of Colombia. I've lived 13 years in New York, and I never did a painting about New York. I've lived in France more than 30 years, and I've never painted Paris.
France has lived a long time - eight or nine centuries - and yet art in France, too, was derivative up until the 19th Century.
Here is the difference between Dante, Milton, and me. They wrote about hell and never saw the place. I wrote about Chicago after looking the town over for years and years.
Not material or economic conditions in the ordinary sense, but perverse religious ideas explain the suspension of civilization in Europe from the 5th to the 12th century, and in the Mohammedan world after the 15th century.
In the way that the 15th Century discovered the New World, the 20th Century discovered the parallel continuum.
I never really thought about being a woman in a man's world. Then at the World Championships in 2000 I finished 15th. I was called on to the podium just for being a woman, and I realised things were going to be different.
That certain snobbery of certainly the Parisian - combined with a complete denial of your historical legacy, is just awful. That's a funny thing about France. Saul Bellow wrote somewhere that he saw right through the French. He lived there. He wrote The Adventures of Augie March in Paris, and there's no one better than him to say what's unbearable about the French.
Female empowerment really is important to me. I'm a big nerd of the books from the 15th Century and 16th Century, when the men had all the power and the women had none of it.
I went back to photography in the 1990s. But from the 60s to the 90s I didn't really take any photographs at all, unfortunately. During that period I lived in France, I lived in England, I lived all over the place in different cities. I didn't take any photographs and because I felt I had really accomplished everything that I wanted to in photography during the period between 61 and 67.
I lived in Atlanta for a couple of years while getting my masters at Georgia State. I thought I hated it at the time, but I've been back a couple of times since, and there's no place I've lived to which returning is so much like visiting a place I only remember from my dreams.
My family actually lived in the same village for about 400 years. They had great stability until the last century. People lived and intermarried in small villages.
I was born in Den Bosch, where the painter Hieronymus Bosch named himself after. And so I've always been very fond of this painter who lived and worked in the 15th century.
I fell in love with New York. I moved here 25 years ago in 1984 after I lived in Paris for six years. In the 1980s, it was the place to be. Here I was able to create NARS, which I would not have been able to create if I stayed in France.
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