A Quote by Paul Kingsnorth
In most novels, the landscape, or the place, in which the story takes part is simply a backdrop to the human action.
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I think the media's primarily an interesting backdrop - a fertile backdrop, in which we can discuss a great deal involving the human condition. We're not trying to lecture the media on how it should be doing its job or lecture people on who they should be voting for, but it does provide an incredible backdrop on which we can paint a lot of pictures and open up a lot of discussions.
I think one of the primary goals of a feminist landscape architecture would be to work toward a public landscape in which we can roam the streets at midnight, in which every square is available for Virginia Woolf to make up her novels
Painting allows me to use other portions of my brain pleasurably. Irony plays no part in what or how I paint. I paint the particular subject matter not to make polemical points but because I am interested in the human imprint on the landscape. I paint the landscape of my time and place with the stuff in it.
We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.
Foreign novels are less action-oriented. They have a different pace; they’re more reflective. They challenge us to look for the story, find the story within the story.
Jose Ortega y Gasset says, "Tell me the landscape in which you live, and I will tell you who you are." Asserting that character/community is formed, at least in part, by the physical landscape in which he/she resides. And this is underscored by the fact - and not all that long ago - that people and place were, in fact, synonymous: Sapho of Lesbos, for example. Or my middle namesake, Saint Francis of Assisi. Jesus of Nazareth.
For men, as a rule, love is but an episode which takes place among the other affairs of the day, and the emphasis laid on it in novels gives it an importance which is untrue to life. There are few men to whom it is the most important thing in the world, and they are not the very interesting ones; even women, with whom the subject is of paramount interest, have a contempt for them.
The most important part of our lives-our sensations, emotions, desires, and aspirations-takes place in a universe of illusions which science can attenuate or destroy, but which it is powerless to enrich.
My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.
Christian worship is the most momentous, most urgent, most glorious action that can take place in human life.
Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.
Novels are completed when they are finished, but the memoir changes its own conclusion by virtue of being written... I was not at all the same person, when I handed the manuscript to the publisher, as I had been when I began. A memoir may always be retrospective, but the past is not where its action takes place.
my crime books are actually novels and are written as such. One might even say that each one is really two novels, one of which is the story I tell the reader, and the other the buried story I know and let slip now and then into a clue to whet the reader's interest.
Loneliness is the inability to share your story, your Unique Self story. For most people, the move beyond loneliness requires us to share our story with a significant other. For the spiritual elite, the receiving of our own story - and the knowing that it is an integral part of the larger story of All-That-Is - is enough. But for most human beings, loneliness is transcended through contact with another person.
Experimental novels are sometimes terribly clever and very seldom read. But the story that appeals to the child sitting on your knee is the one that satisfies the curiosity we all have about what happened then, and then, and then. This is the final restriction put on the technique of telling a story. A basic thing called story is built into the human condition. It's what we are; it's something to which we react.
I'm attempting to broaden my novels' scope through landscape and weather, leaves falling off trees, overnight storms, timeless elements which, irrespective of human endeavour, have always been there and, as long as there is life and snow, will always be there.
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