A Quote by Nicole Krauss
To walk into a modern-day bookstore is a little bit like studying a single photograph out of the infinite number of photographs that cold be taken of the world: It offers the reader a frame.
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Photography has always been capable of manipulation. Even more subtle and more invidious is the fact that any time you put a frame to the world, it's an interpretation. I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that's going on to the left of the frame. You take 35 degrees out of 360 degrees and call it a photo. There's an infinite number of ways you can do this: photographs have always been authored.
The inferiority of photographs to the best works of artists, so far as resemblance is concerned, lies in their catching no more than a single expression. If many photographs of a person were taken at different times, perhaps even years apart, their composite would possess that in which a single photograph is deficient.
37 is a lumpy number, a bit like porridge. Six is very small and dark and cold, and whenever I was little trying to understand what sadness is I would imagine myself inside a number six and having that experience of cold and darkness. Similarly, number four is a shy number.
There was as big a reaction after the revelations about Assad's chemical weapons. Nevertheless, that photograph did strike a singular chord. Which leads us to a larger fact: we don't understand why certain photographs create such an upheaval in one's soul. You look at them and go, "Oh my gosh." And that doesn't happen with television. It's unique to photography. Photographs are unique in that they are a frame abstracted out of reality, out of, in this case, a civil war. A single event can carry so much weight. And that is extraordinary.
There is no longer a single idea explaining everything, but an infinite number of essences giving a meaning to an infinite number of objects. The world comes to a stop, but also lights up.
Without doubt, matter is unlimited in extent, and, in this sense, infinite; and the forces of Nature mould it into an innumerable number of worlds. Would it be at all astonishing if, from the universal dice-box, out of an innumberable number of throws, there should be thrown out one world infinitely perfect? Nay, does not the calculus of probabilities prove to us that one such world out of an infinite number, must be produced of necessity?
I don't know what my formula is. I only know I like my characters to walk in clouds. I like a little bit of the fairy tale. Let others photograph the ugliness of the world. I don't want to distress people.
The way in which the photograph records experience is also different from the way of language. Language makes sense only when it is presented as a sequence of propositions. Meaning is distorted when a word or sentence is, as we say, taken out of context; when a reader or listener is deprived of what was said before, and after. But there is no such thing as a photograph taken out of context, for a photograph does not require one. In fact, the point of photography is to isolate images from context, so as to make them visible in a different way.
I walk in the park every day, and when people come and ask for a photograph, I say, "Oh, my God!" It means they recognize that I have been doing something right and they want to have a photograph taken with me.
In my couple of books, including Going Clear, the book about Scientology, I thought it seemed appropriate at the end of the book to help the reader frame things. Because we've gone through the history, and there's likely conflictual feelings in the reader's mind. The reader may not agree with me, but I don't try to influence the reader's judgment. I know everybody who picks this book up already has a decided opinion. But my goal is to open the reader's mind a little bit to alternative narratives.
Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place.
There are infinite worlds both like and unlike this world of ours. For the atoms being infinite in number... are borne on far out into space.
You look at it [a photograph] and all around the real world is humming, buzzing and moving, and yet in this little frame there is stillness that looks like the world. That connection, that collision, that interfacing, is one of the most astonishing things we can experience.
Every photograph is a realization of one of the possibilities contained within the program of the camera. The number of such possibilities is large, but it is nevertheless finite. It is the sum of all those photographs that can be taken by a camera.
Our hope is that every single day the work we're doing is helping to make the American people just a little bit safer, a little bit more prosperous, a little bit healthier.
I'd like to do a little bit of everything. I think the only thing I can't do is a British accent, so that's out. No Shakespeare for me. Unless it's like one of those modern-day remakes.
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