A Quote by Mina Kimes
I am interested in everything, which sounds like a cop out. Having been a magazine writer, I do not have a beat.
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The way something looks or sounds is also what it means. Words as visual and aural phenomena, which mainly poets, not critics and prose writers, tend to be obsessed with. I think maybe I'm more of a curator than I am a writer in the strict sense because I am interested in how everything on the page, in a space, works together.
In terms of age, I think I've covered about as wide a range as is possible, having written everything from picture books to early chapter books to middle grade novels to YA to one adult novel - and having been editor and lead writer for a magazine for retired people!
If I see a cop, it's not like, 'Oh, there's a cop who's gonna keep me safe.' It's more, 'There's a cop who might be having a bad day, so don't make eye contact.'
When I was at 'Newsweek' magazine - which, you know, this really sounds like I walked four miles in the snow to school - but I started at 'Newsweek' magazine in 1963, which was before the Civil Rights Act of 1964. So it was actually legal to discriminate against women, and 'Newsweek' did.
When I went through the Simpson case, I was a cop. Then I was a good cop. Then I was a bad cop. Then I had the media camped out in front of my house when I retired. Then, you know, I am the evilest thing on the planet. Then I write a few books, and then I start getting involved, like the Martha Moxley case.
With a face like this, there aren't a lot of lawyers or priest roles coming my way. I've gotta face that was meant for a mug shot and that's what I've been doing for the past thirty years. If I play a cop, it's always a racist cop, or a trigger-happy cop or a crooked cop - but by and large I play cowboys, bikers, and convicts.
Everything can inspire me. I know that sounds like a cop-out answer, but I find inspiration in literally just about everything. As an actor, I have to watch people and observe their behaviors - this is how I create characters. My daily surroundings feed my work, whether it's something I'm working on right now or it's something down the road. Music, art, landscape - these are all things I draw inspiration from.
My uncle was a cop, a career cop, on the beat in downtown Chicago. He was my hero when I was growing up.
I've been called a point guard, I've been called a traffic cop, I've been called a ringmaster, a lion tamer, whatever. And I guess the thing about the traffic cop is I'm more of a rogue traffic cop because a good traffic cop doesn't want any fender benders.
I was interested in creating things that I could be proud of and so, you know, I was interested in being an editor of a magazine, things that I could be proud of, and so, you know, I was interested in being an editor of a magazine, but in order to be an editor of a magazine I had to become a publisher as well. I had to pay the bills. I had to worry about the printing and the paper manufacturing and the distribution of that magazine.
I am greatly proud of the fact that 'Doom' is one of those things where everything that has a 32-bit processor has had 'Doom' run on it, and I think that's been one of the great aspects of having it be open source: having everything out there means that people have maintained that and kept it up to date.
I was co-editor of the magazine called The Jazz Review, which was a pioneering magazine because it was the only magazine, then or now, in which all the articles were written by musicians, by jazz men. They had been laboring for years under the stereotype that they weren't very articulate except when they picked up their horn.
I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.
The rest of America, with some small exceptions, has been bulldozed and rebuilt and then bulldozed and rebuilt again. Our places have become interchangeable. Here in New Orleans, everything from the architecture to the way in which people eat, the way in which they talk, the way in which they do business, the way in which they dance, the manner in which everything is set to a parade beat, they're all from here. There's no place like it.
The bartenders are the regular band of Jack, and the heavenly drummer who looks up to the sky with blue eyes, with a beard, is wailing beer-caps of bottles and jamming on the cash register and everything is going to the beat - It's the beat generation, its béat, it's the beat to keep, it's the beat of the heart, it's being beat and down in the world and like oldtime lowdown.
There have been plenty of things that I've written that other people haven't cared about, but it hasn't stopped me from being a writer. So, I don't even think about other people. I'm just interested writing about human beings so if somebody calls and says, 'We'd like you to do it,' I'd say, 'That sounds like a cool idea.'
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