A Quote by Ottessa Moshfegh

My short stories are so character-based and they're also so private. They're like a private world in each story and I'm getting more and more interested in allowing myself to investigate the big picture about this country, and about human beings, and about the planet, and about the solar system, and about the nature of the material world in general. And I felt like I needed to move into a bigger form.
I'm educating myself more about world poetry. I know a lot about contemporary American poetry, so I felt I needed to learn more about figures like Borges, Akhmatova, Neruda, etc. I felt I needed a bigger lens to see poetry through. It really helps to see poetry as a world language, and not just something American.
No one planet can tell us everything about the universe, but Neptune seems to hold more than its share of information about the formation of our own solar system - as well as the solar systems beyond.
The media loves to spend a lot of time talking about itself and do a lot of navel-gazing, which the general public isn't quite that interested in. They aren't really particularly concerned with whether our feelings are hurt or the things that we complain about. They have their own lives and their own jobs that are difficult as well. I think where the media has gotten itself in trouble is the sense that they're much more interested in things like parsing words and getting into fights about little minutia, as opposed to stepping back and seeing what the big picture is.
I've always loved short stories. Even before I was a writer I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me. Alice Munro, I felt that way about from an early time. Grace Paley.
All but universally, human architecture values front elevations over back entrances, public spaces over private. Danny Jessup says that this aspect of architecture is also a reflection of human nature, that most people care more about their appearance than they do about their souls.
The world needs specialists and highly trained people with advanced degrees, no question about it. But the world also needs diversity and versatility. It needs people who know as much about our value system as they do about our solar system.
However much I may like to talk about or be interested in a more philosophical or moral agenda, [film] is, ultimately, about narrative. And it's about telling stories that are engaging and dramatic.
Ron allowed us to see right away the private piece of a person about to become very public. I suspect we're going to see more of her very private world - Laura's private experience. I'm not sure yet how public she's going to be about the actions she's going to have to take.
I think that most of us, anyway, read these stories that we know are not "true" because we're hungry for another kind of truth: the mythic truth about human nature in general, the particular truth about those life-communities that define our own identity, and the most specific truth of all: our own self-story. Fiction, because it is not about someone who lived in the real world, always has the possibility of being about oneself. --From the Introduction
I just would like to say that over more than a quarter-century as a scientist and a believer, I find absolutely nothing in conflict between agreeing with Richard [Dawkins] in practically all of his conclusions about the natural world, and also saying that I am still able to accept and embrace the possibility that there are answers that science isn't able to provide about the natural world - the questions about why instead of the questions about how. I'm interested in the whys.
For those interested in learning more about corporations and private individuals profiting from the caging of human beings, I highly recommend the book "Prison Profiteers: Who Makes Money From Mass Incarceration."
I seem to turn out stories that violate the discipline of the short story form and don't obey the rules of progression for novels. I don't think about a particular form: I think more about fiction, let's say a chunk of fiction.
I'm very private about my private life. I don't like to go into too much depth about it.
We like to be in touch with our fans, but we're also very private. 'Cause, to us, it's not about Zacky or M. Shadows or Synyster Gates. It's about Avenged Sevenfold; it's more important than any one of us.
I don't know if that's the best story for BoJack, long-term. I do love the world, and I love playing around in it and it feels like an elastic enough world that, any story I want to tell, I can tell about these characters in this world. I can talk about parents and children, husbands and wives, the troops, or Hollywood. It does feel like an endless playground at this point, it would be a shame if we cut it off early for fear of repeating the same things over and over again. But I am looking to move the story and character somewhat.
I'm not a mother of children, but I'm a different type of mother where my approach to design is more in line with nature. It's less about dictating and more about editing and listening and allowing something to grow. So I nourish and let the material express what it wants to be.
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