A Quote by Paul P. Harris

It would not be fair to the critics of Rotary, who include some of the most brilliant of the British and American writers, to charge them with prejudice. — © Paul P. Harris
It would not be fair to the critics of Rotary, who include some of the most brilliant of the British and American writers, to charge them with prejudice.
The British and American literary worlds operate in an odd kind of symbiosis: our critics think our contemporary novelists are not the stuff of greatness whereas certain contemporary Americans indubitably are. Their critics often advance the exact opposite: British fiction is cool, American naff.
I have some friends, most of them are writers or editors, whose recommendations I trust blindly. There are some critics, too, whom I trust, but not many.
Writers must be fair and remember even bad guys (most of them, anyway) see themselves as good—they are the heroes of their own lives. Giving them a fair chance as characters can create some interesting shades of gray—and shades of gray are also a part of life.
Dubai was brilliant, they looked around the world. They saw Hong Kong, Singapore, New York, Chicago, Sydney, London all ran British common law. British common law is much better for commerce than is French common law or sharia law. So they took 110 acres of Dubai soil, put British common law with a British judge in charge, and they went from an empty piece of soil to the 16th most powerful financial center in [the] world in eight years.
I think British journalists do well in America because the newspaper culture there is so strong - telling stories and presenting them readably is in their DNA. British newspapers get a terrible rap, but they are brilliant in their presentation, most of them, so full of vitality and literary wit.
I was in charge of the Bureau of Labor Statistics. So I had some of the most brilliant mathematical statistical minds in the country, who would put together the modern technology, if you like, of understanding the economy and tracking it and trying to influence it.
Soaps are a double-edged sword. There can be prejudice from some writers and producers who feel you will lower the currency of their work if you've been in one. You have to rise above such ludicrous prejudice.
Is there deeply embedded change within our industry? And I would say, as a black filmmaker, it's easy for me to focus my attention on black work, but true change would include brown work, and it would include work by Asian-Americans, and it would include natives, and it would include women, and it would include more LGBTQ voices.
The Americans only like things they can label, even if it kills them. Think of those poor Latin American writers. Some of them are very good. But the "magical realism" label has absolutely ruined them. The critics are like tourists who return from a trip saying they've "done" Machu Picchu: "Okay, we've done magical realism," so now we can throw it out.
I am relatively familiar with getting a good old rumping from the critics. In some cases, the critics just didn't like the film - fair cop. Others, I think, didn't understand it.
At the height of the British Empire very few English novels were written that dealt with British power. It's extraordinary that at the moment in which England was the global superpower the subject of British power appeared not to interest most writers.
I'm far from immune to the American, perhaps historically male, prejudice toward practical and physical competence; I hope I've also considered that prejudice enough to have some distance from it.
There are some great writers who are great talkers, but there are more great writers who are not great talkers. People seem to think there is some connection between talking and writing, but I love to talk and if there were some connection between the two of them I would be the most prolific writer in the history of the world.
In addition to anti-American terrorists with global reach, our adversaries include organizations - some nation states, some private and some criminal - that proliferate weapons of mass destruction and the means to deliver them.
I'm one of the few Black writers, or African American writers, who managed to work my way through the system so that it has allowed me to speak in a kind of free way. But most African American writers don't have that. They don't have that opportunity, they don't have that.
American actors who voice animated movies are so brilliant at it, because by the nature of American speak, it's full of energy and full of commitment. And as a British actor, we have to kind of learn that.
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