A Quote by Mark Twain
Experience is an author's most valuable asset; experience is the thing that puts the muscle and the breath and the warm blood into the book he writes.
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An author writes a book, and that's the book at that point. And if the author writes the book again, then somehow something has gone wrong, if you see what I mean.
I eventually realized that direct experience is the most valuable experience I can have. Western man is so surrounded by ideas, so bombarded with opinions, concepts, and information structures of all sorts, that it becomes difficult to experience anything without the intervening filter of these structures.
Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.
The condition that is most disagreeable in your life becomes the most useful one. You know, I feel the same way about the U.S. Army. It was absolutely the worst experience of my life, and it was probably the single most valuable experience.
Experience is often the most valuable thing you have to offer.
Music is, of course, a universal emotional experience, cutting across cultures and languages. I studied piano for ten years as a child and consider that experience one of the most valuable in my life.
An author spends months writing a book, and maybe puts his heart's blood into it, and then it lies about unread till the reader has nothing else in the world to do.
One thing I really hate is experience. Experience for me doesn't work. Everybody's talking about experience this, experience that.
Certainly Christianity is an experience, but equally clearly the validity of ane experience has to be tested. There are people in lunatic asylums who have the experience of being the Emperor Napoleon or a poached egg. It is unquestionably an experience, and to them a real experience, but for all that it has no kind of universal validity. It is necessary to go far beyond simply saying that something comes from experience. Before any such thing can be evaluated at all, the source and character of the experience must clearly be investigated.
In a sense, any story that anyone writes is going to be autobiographical - whether it deals directly with the author's experience or not - because it captures what we're obsessed with while working on that particular piece.
The most valuable asset we have, actually, is our ability to understand, to do the right thing, to be kind, to be decent.
When our hearts open, when we know that we are in fact the world, when we experience the pain of others in our own blood and muscle, we are feeling compassion.
One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.
It is the shared experience - [although] you're the conduit of the sound, the recipient is also in some way the author of the work, because if they weren't the author of the work they wouldn't be able to recognise it as an experience, you could argue. The more distance you can put between yourself and having any kind of objective the more likely it is to appear.
We are so overwhelmed with quantities of books, that we hardly realise any more that a book can be valuable, valuable like a jewel, or a lovely picture, into which you can look deeper and deeper and get a more profound experience every time.
One writes out of one thing only - one's own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give. This is the only real concern of the artist, to recreate out of the disorder of life that order which is art.
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